The A Dimension - Alphaforum.net

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The a dimension Unleash your imagination with the power of a creativity Digital SLR basics 072 How an SLR camera works 074 Body-integrated image stabilization 076 Focal length 078 Focal length and angle of view 080 Focal length and apparent perspective 082 Depth of field 084 Utilizing depth of field Image gallery 086 Macro shooting 008 Jun Imura 088 Lens hoods 012 Duncan McEwan 089 Circular polarlizing filters 014 Cameron Lawson 016 Ken Spencer Choosing the right lens 018 Hiromasa Mano 092 Portraits 096 Landscapes 100 Snapshots Contents The a lens lineup 024 a lenses 104 Macro close-ups 026 16mm F2.8 Fisheye (SAL16F28) 108 Sports 028 20mm F2.8 (SAL20F28) 112 Wildlife 030 28mm F2.8 (SAL28F28) 114 Pets 032 35mm F1.4G (SAL35F14G) 034 50mm F1.4 (SAL50F14) a system technology 036 Carl Zeiss Planar T* 85mm F1.4 ZA (SAL85F14Z) 118 Body-integrated image stabilization 038 120 Circular aperture and defocusing effect 040 Carl Zeiss Sonnar T* 135mm F1.8 ZA (SAL135F18Z) 135mm F2.8 [T4.5] STF (SAL135F28) 122 STF lens and defocusing effect 042 300mm F2.8G (SAL300F28G) 124 ED glass and aspherical lenses 044 500mm F8 Reflex (SAL500F80) 126 SSM (Super Sonic wave Motor) 046 50mm F2.8 Macro (SAL50M28) 128 Autofocus reflex lens 048 100mm F2.8 Macro (SAL100M28) 129 DMF (Direct Manual Focus) 050 DT 11–18mm F4.5–5.6 (SAL1118) 130 ADI flash metering 052 Carl Zeiss Vario-Sonnar T* DT16–80mm F3.5–4.5 ZA (SAL1680Z) 132 High-speed synchro 054 DT 18–70mm F3.5–5.6 (SAL1870) 056 DT 18–200mm F3.5–6.3 (SAL18200) Specifications & terminology 058 24–105mm F3.5–4.5 (SAL24105) 134 060 70–200mm F2.8G (SAL70200G) Fixed focal length lenses 062 75–300mm F4.5–5.6 (SAL75300) Zoom lenses 064 1.4x Teleconverter (SAL14TC) Carl Zeiss® lenses 066 2x Teleconverter (SAL20TC) 138 Glossary 068 Carl Zeiss lenses 142 a lenses — basic specifications ® ® ® ® ® ® ® Lens performance and MTF graphs Image gallery 008–021 Jun Imura 10 11 Duncan McEwan 12 13 Cameron Lawson Ken Spencer 16 17 Hiromasa Mano 18 19 20 21 The a lens lineup 024–069 The performance and quality you need to realize your personal creative vision Photography allows us to capture those special moments we want to remember forever. Whether it is the smile on a loved one's face, a bustling market scene in an exotic foreign land, or a breathtaking vista of natural grandeur, it is the emotional impact of these moments that moves us, and that we want to convey to others. 24 Whether that impact is effectively conveyed or not isn't simply a matter of fortuitous timing, though. It also depends very much on the quality, angle of view, and imaging characteristics of the lenses used to capture each image. And it is this ability to change lenses for different shots that makes SLR photography so versatile and endlessly fascinating. The a lineup, including our high-performance, professional-grade Carl Zeiss® and G series lenses, offers a diverse array of high-quality lenses and teleconverters designed to help you respond to virtually any photographic or creative challenge. So that you can share those special moments in life with your family, your friends, and the world at large. Cameras may change and be replaced, but lenses are lasting assets. Reflecting Sony's corporate commitment to innovation, quality, and optical excellence, the lenses introduced in these pages constitute a fully integrated system that brings a new dimension in creativity to digital SLR photography. 25 16mm F2.8 Fisheye (SAL16F28) A mode, F8 (1/80 sec.), ISO 100, Auto white balance A unique fisheye perspective that expands your photographic horizons The 16mm F2.8 Fisheye (SAL16F28) is a 35mm format compatible lens with a 180º angle of view that shows us realities which are always there, but beyond our natural ability to see. The key to this amazing view is curvilinear optical distortion, which causes linear elements like the horizon to take on a pronounced curvature. It is by taking advantage of this distortion that the lens is able to produce such unique images. 26 You can control how the distortion affects your image by varying the position of the elements in the frame, and you can magnify the effect by shooting your subject at very close range. With a minimum shooting distance of just 20cm/7.9", the 16mm F2.8 Fisheye lets you capture amusing and dramatic close-up images with strikingly exaggerated perspective. Normal, O56, A12, and B12 filters are built in. 16mm F2.8 Fisheye (SAL16F28) ● Image circle format: 35mm (180º angle of view) ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 24mm (110º angle of view) ● Lens configuration: 11 elements in 8 groups (incl. one filter) ● Aperture blades: 7 ● Minimum aperture: F22 ● Minimum focus distance: 0.2m / 7-7/8" ● Max. magnification ratio: 0.15x ● Filter size: built-in (4) ● Lens hood: fixed ● Dimensions (max. diameter x length): 75 x 66.5mm / 2-15/16 x 2-5/8" ● Weight: approx. 400g / 14.1 oz 27 20mm F2.8 (SAL20F28) M mode, 1/125 sec., F16, ISO 100, Auto white balance A super wide-angle view that captures depth and drama on a grand scale The superbly crafted 20mm F2.8 (SAL20F28) super wide-angle lens offers approximately four times the imaging area of a standard 50mm lens. It has a 94º angle of view when mounted on a 35mm-format SLR and a 70º angle of view when mounted on an APS-C format digital SLR. At smaller apertures the depth of field is so great that this effectively becomes a 'panfocus' lens that can capture foreground and background elements with equal sharpness. 28 Superior optics suppress image aberration across the focusing range, from infinity in to the minimum shooting distance of just 25cm/9.8". A rear-focusing mechanism enables ultra-fast autofocusing for on-the-fly snapshots, while a circular 7-blade iris assures smooth background defocusing that really makes your subject stand out. 20mm F2.8 (SAL20F28) ● Image circle format: 35mm (94º angle of view) ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 30mm (70º angle of view) ● Lens configuration: 10 elements in 9 groups ● Aperture blades: 7 (circular aperture) ● Minimum aperture: F22 ● Minimum focus distance: 0.25m / 9-7/8" ● Max. magnification ratio: 0.13x ● Filter size: 72mm ● Lens hood: bayonet-mount petal ● Dimensions (max. diameter x length): 78 x 53.5mm / 3-1/16 x 2-1/8" ● Weight: approx. 285g / 10.1 oz ● Included accessories: lens hood 29 28mm F2.8 (SAL28F28) Light, compact, and fast: an easy-to-handle wide-angle with a built-in sliding lens hood 28mm wide-angle lenses have been considered a kitbag essential by generations of SLR photographers, and the 28mm F2.8 (SAL28F28) makes it brilliantly clear why. Only 42.5mm/1.67" in length and 185g/6.5 oz in weight, it's gratifyingly responsive and easy to handle, with a generous angle of view that captures satisfyingly complete images of crowds, streets, beaches, or markets — any place with a lot happening in a limited space. It's also great for architecture, interiors, and snapshots, and although the 28mm focal length is available on many standard zoom lenses, the compact handling ease and bright, super-crisp imaging of this fixed focal length 28mm are hard to beat. The 28mm F2.8 also shines when mounted on an APSC format digital SLR, where it offers 42mm equivalent performance that makes it ideal as a standard lens. Contrast is excellent, and the deep depth of field assures faithful rendition of key details in both foreground and background. With its versatile angle of view, it's a lens that focuses the viewer's attention on the creativity of your composition. 30 A mode, F5.6 (1/30 sec.), -0.7EV, ISO 100, White balance: Shade 28mm F2.8 (SAL28F28) ● Image circle format: 35mm (75º angle of view) ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 42mm (54º angle of view) ● Lens configuration: 5 elements in 5 groups ● Aperture blades: 7 ● Minimum aperture: F22 ● Minimum focus distance: 0.3m / 11-13/16" ● Max. magnification ratio: 0.13x ● Filter size: 49mm ● Lens hood: integrated ● Dimensions (max. diameter x length): 65.5 x 42.5mm / 2-9/16 x 1-11/16" ● Weight: approx. 185g / 6.5 oz 31 35mm F1.4 G (SAL35F14G) M mode, 1/800 sec., F2, ISO 100, Auto white balance A fast, large-aperture lens with the superb performance of high-quality G optics The 35mm F1.4 G (SAL35F14G) is composed of 10 elements in 8 groups, and offers the highest level of image quality and handling performance. A molded glass aspherical lens element ensures outstanding sharpness at large apertures, and double-floating construction helps maintain image quality at the periphery when shooting at close range. As a result, the 35mm F1.4 G offers stunning edge-to-edge sharpness from infinity down to the minimum shooting distance of 30cm / 11.8". A circular 9-blade iris assures beautiful background defocusing at larger apertures. 32 Although it does not exhibit the apparent perspective enhancement that is characteristic of very wideangle lenses, the 35mm F1.4 G offers approximately double the image area of a 50mm lens. Depth of field is exceptional: at F2.8 the depth of field is approximately as deep as at F5.6 on a 50mm lens, making this lens ideal for snapshots and indoor photos. Together with the Super SteadyShot® image stabilization system built into a series camera bodies, it's a powerful tool for handheld shooting in low light. 35mm F1.4 G (SAL35F14G) ● Image circle format: 35mm (63º angle of view) ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 52.5mm (44º angle of view) ● Lens configuration: 10 elements in 8 groups ● Aperture blades: 9 (circular aperture) ● Minimum aperture: F22 ● Minimum focus distance: 0.3m / 11-13/16" ● Max. magnification ratio: 0.2x ● Filter size: 55mm ● Lens hood: bayonet-mount petal ● Dimensions (max. diameter x length): 69 x 76mm / 2-3/4 x 3" ● Weight: approx. 510g / 1 lb 2 oz ● ADI flash metering support (distance encoder) ● Included accessories: lens hood, carrying case ● Aspherical element 33 50mm F1.4 (SAL50F14) A large-aperture standard lens with natural perspective and a rich range of expression The 50mm F1.4 (SAL50F14) packs the light-gathering power of high-grade, large-aperture optics into a light, compact package. Designed to make the most of available light while providing natural perspective and well-balanced image rendition from the classic midrange angle of view, it's fast and versatile enough for a broad range of shooting applications, from interiors to landscapes. Gaussian design with 7 elements arranged in 6 groups assures excellent contrast and resolution, and although eminently suited to low-light shooting, that's not the 50mm F1.4's only advantage. Its large-aperture capability also means you have a wider range of f-stop settings to choose from, and can explore the creative potential of depth of field control to the fullest. 50mm F1.4 (SAL50F14) ● Image circle format: 35mm (47º angle of view) ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 75mm (32º angle of view) ● Lens configuration: 7 elements in 6 groups ● Aperture blades: 7 (circular aperture) ● Minimum aperture: F22 ● Minimum focus distance: 0.45m / 17-11/16" ● Max. magnification ratio: 0.15x ● Filter size: 55mm ● Lens hood: bayonet-mount round ● Dimensions (max. diameter x length): 65.5 x 43mm / 2-9/16 x 1-11/16" ● Weight: approx. 220g / 7.8 oz ● ADI flash metering support (distance encoder) ● Included accessories: lens hood When mounted on an APS-C format digital SLR, the 50mm F1.4 offers the focal length equivalent of a 75mm medium telephoto lens. But whether you use it with a 35mm format SLR or an APS-C format SLR, it offers superb background defocusing characteristics that really make your subject stand out. 34 M mode, 1/180 sec., F2.0, ISO 100, Auto white balance 35 Carl Zeiss® Planar® T* 85mm F1.4 ZA (SAL85F14Z) M mode, 1/2000 sec., F2.8, ISO 100, Auto white balance A bright, medium telephoto lens with impressive credentials The Planar ® T* 85mm F1.4 ZA (SAL85F14Z) is a collaborative creation by Sony and Carl Zeiss ® that brings a new standard of excellence to the medium telephoto category. Planar ® optics are famous for the delicacy of the images they deliver, and the 85mm focal length is considered by many to be ideal for portrait photography, allowing a relaxed and appropriate shooting distance between photographer and subject. Designed to achieve the highest standard of digital SLR imaging performance, the Planar ® T* 85mm F1.4 ZA offers excellent contrast, outstanding image fidelity, and exquisitely smooth background defocusing. 36 Portraits aren't the only thing at which the Planar ® T* 85mm F1.4 ZA excels, though, because its edge-toedge sharpness and clarity also make it an excellent choice for landscape photography. The lens is exceptionally easy and comfortable to work with, featuring a wide focus ring with an auto clutch mechanism, and a focus hold button to enable focus lock during AF shooting. Planar ® T* 85mm F1.4 ZA (SAL85F14Z) ● Image circle format: 35mm (29º angle of view) ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 127.5mm (19º angle of view) ● Lens configuration: 8 elements in 7 groups ● Aperture blades: 9 (circular aperture) ● Minimum aperture: F22 ● Minimum focus distance: 0.85m / 33-1/2" ● Max. magnification ratio: 0.13x ● Filter size: 72mm ● Lens hood: bayonet-mount round ● Dimensions (max. diameter x length): 81 x 75mm / 3-3/16 x 2-15/16" ● Weight: approx. 640g / 1 lb 6.6 oz ● ADI flash metering support (distance encoder) ● Included accessories: lens hood, carrying case 37 Carl Zeiss® Planar® T* 135mm F1.8 ZA (SAL135F18Z) A versatile large-aperture telephoto lens of outstanding quality and brightness The Sonnar® T* 135mm F1.8 ZA (SAL135F18Z) is an exceptionally bright telephoto lens, and its 135mm focal length brings your subject in close without compressing the perspective the way more powerful telephoto lenses do. It's a superb lens for portraits, indoor sports, and landscapes, with an F1.8 maximum aperture that makes it extremely effective in low-light conditions, and defocusing characteristics that fully live up to the high standard set by its cousin, the Planar® T* 85mm F1.4 ZA. Composed of 11 elements in 8 groups, including two ED (Extra-low Dispersion) glass elements to correct chromatic aberration, the Sonnar® T* 135mm F1.8 ZA is also excellent for close-up work, offering a maximum magnification ratio of 0.25x at a minimum shooting distance of 72cm/28.3". An internal focusing mechanism assures rapid autofocusing for quick-action shooting. Easy and comfortable to operate, the lens also features a wide focus ring with auto clutch, and a focus hold button for positive focus lock during AF operation. With the light-gathering power of its F1.8 aperture and support for the Super SteadyShot® image stabilization built into a series camera bodies, the Sonnar ® T*135mm F1.8 ZA lets you enjoy available-light shooting to the fullest. 38 M mode, 1/80 sec., F4, ISO 200, Auto white balance Sonnar ® T* 135mm F1.8 ZA (SAL135F18Z) ● Image circle format: 35mm (18º angle of view) ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 202.5mm (12º angle of view) ● Lens configuration: 11 elements in 8 groups ● Aperture blades: 9 (circular aperture) ● Minimum aperture: F22 ● Minimum focus distance: 0.72m / 28-3/8" ● Max. magnification ratio: 0.25x ● Filter size: 77mm ● Lens hood: bayonet-mount round ● Dimensions (max. diameter x length): 88 x 114.5mm / 3-7/16 x 4-1/2" ● Weight: approx. 995g / 2 lb 3.1 oz ● ADI flash metering support (distance encoder) ● Included accessories: lens hood, carrying case ● ED glass 39 135mm F2.8 [T4.5] STF (SAL135F28) A unique medium telephoto lens with distinctively rich defocusing characteristics The 135mm F2.8 [T4.5] STF (SAL135F28) is a manual focus 35mm format compatible lens that is truly in a league of its own. With conventional lens design, it is extremely difficult to balance the demands of crisp, aberration-free imaging and smooth defocusing. But with this lens's unique STF (Smooth Transition Focus) design, these two conflicting goals are uncompromisingly achieved. The lens consists of 8 elements arranged in 6 groups, with the fifth and sixth elements bonded together to create an apodization optical element that is mounted directly behind the aperture iris. It boasts exceptionally high contrast and resolution that ensure ultracrisp imaging, while the apodization optical element smoothes the transition between in-focus and out-offocus areas of the image to offer distinctively richer, more refined defocusing of the foreground and background. 135mm F2.8 [ T4.5] STF (SAL135F28) ● Image circle format: 35mm (18º angle of view) ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 202.5mm (12º angle of view) ● Lens configuration: 8 elements in 6 groups (incl. 2 optical elements for apodization) ● Aperture blades: 9 in auto mode, 10 in manual mode (circular aperture) ● Minimum aperture: F31 [T32] (T = Transmissive brightness) ● Minimum focus distance: 0.87m / 34-1/4" ● Max. magnification ratio: 0.25x ● Filter size: 72mm ● Lens hood: bayonet-mount round ● Dimensions (max. diameter x length): 80 x 99mm / 3-1/8 x 3-7/8" ● Weight: approx. 730g /1 lb 9.7 oz ● Teleconverter support ● Included accessories: lens hood, carrying case Ideal for portraits, landscapes, and close-up work, the 135mm F2.8 [T4.5] STF also features a circular stepless T4.5–6.7 manual aperture mechanism to enable fine control of imaging and defocusing characteristics. 40 M mode, 1/60 sec., T5.6, ISO 100, Auto white balance 41 300mm F2.8G (SAL300F28G) Bright, long-range telephoto power with quiet, responsive autofocusing This superbly crafted lens offers the long-range telephoto power you need to capture distant sports, wildlife, and landscape subjects. Built to the meticulous standards of our G series lenses, it boasts a bright, F2.8 aperture that lets you use faster shutter speeds, and an 8.1º angle of view that lets you zero-in on an area 1/36th the size of the image area of a 50mm lens. With a minimum focusing distance of just 2.0m/78.7", you can even use it for portraits and close-ups. Contrast and resolution are unparalleled, and three ED (Extra-low Dispersion) glass lens elements are incorporated to thoroughly correct chromatic aberration. The lens is also equipped with a responsive SSM (Super Sonic wave Motor) autofocus drive system for precise, quiet focusing, as well as a focus hold button, an electronic focus range limiter, and two DMF (Direct Manual Focus) modes: one that lets you fine-tune the focus manually after autofocus has been achieved, and one that lets you adjust the focus manually anytime. 300mm F2.8G (SAL300F28G) ● Image circle format: 35mm (8.1º angle of view) ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 450mm (5.2º angle of view) ● Lens configuration: 13 elements in 12 groups (incl. one filter) ● Aperture blades: 9 (circular aperture) ● Minimum aperture: F32 ● Minimum focus distance: 2.0m / 78-3/4" ● Max. magnification ratio: 0.18x ● Filter size: 42mm (with a dedicated filter) ● Lens hood: clip-on-mount round ● Dimensions (max. diameter x length): 122 x 242.5mm / 4-13/16 x 9-9/16" ● Weight: approx. 2.310g / 5 lb 1.5 oz ● ADI flash metering support (distance encoder) ● Included accessories: lens hood, slot-in type circular polarizing filter, lens strap, hard carrying case ● ED glass 42 M mode, 1/1600 sec., F5.6, ISO 100, Auto white balance 43 500mm F8 Reflex (SAL500F80) The ultra-compact super telephoto lens that pioneered reflex-design autofocusing The 500mm F8 Reflex (SAL500F80) isn't just compact, it's also the first reflex lens to offer the speed and convenience of autofocusing. Its catadioptric design uses both lenses and mirrors to pack 500mm telephoto power — equivalent to 750mm when mounted on an APS-C format digital SLR — into a body 118mm/4.6" long, weighing only 665g/23.5 oz. Ideal for fieldwork on wilderness and nature assignments, or in any situation where the photographer has to wait patiently for the critical action but be ready to respond instantly when it happens. A focus-hold button is conveniently located on the side of the lens barrel for quick and reliable operation. Reflex lenses are notable for their absence of chromatic aberration, and the 500mm F8 Reflex is no exception. Color fidelity is excellent, with outstanding clarity and the distinctive ringed defocusing effect that is the signature of reflex lens design. And since reflex design eliminates the mechanical iris used to control the aperture in most lenses, the amount of light passing through the lens is controlled via a set of snapin neutral-density filters. 44 A mode, F8 (1/500 sec.), ISO 400, White balance: Daylight 500mm F8 Reflex (SAL500F80) ● Image circle format: 35mm (5º angle of view) ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 750mm (3.1º angle of view) ● Lens configuration: 7 elements in 5 groups (incl. 1 filter) ● Aperture blades: none ● Minimum aperture: F8 (fixed) ● Minimum focus distance: 4.0m / 157-1/2" ● Max. magnification ratio: 0.13x ● Filter size: 42mm (with a dedicated filter) ● Lens hood: screw-mount round ● Dimensions (max. diameter x length): 89 x 118mm / 3-1/2 x 4-5/8" ● Weight: approx. 665g / 1 lb 7.5 oz ● Included accessories: lens hood, snap-in ND filters 45 50mm F2.8 Macro (SAL50M28) A mode, F3.2 (1/80 sec.), +0.7EV, ISO 400, White balance: Shade A compact and versatile macro lens with ultra-smooth defocusing The 50mm F2.8 Macro (SAL50M28) is a 35mm format compatible lens that captures 1:1 life-size images with the high contrast and resolution that are hallmarks of a truly great macro lens. A double floating mechanism minimizes aberrations across the focusing range to assure beautiful imaging from infinity down to the minimum shooting distance of 20cm/7.9". With naturally smooth defocusing characteristics and compact, easy-handling versatility, it's a macro lens that's great for landscapes and snapshots, too. 46 The 50mm F2.8 Macro is designed for ease of use with either auto or manual focusing. The wide focus ring is easy to fine-tune manually, yet doesn't rotate and throw your grip off when you're using autofocus. A focus hold button and focus range limiter are also provided to help you use autofocus in difficult situations. Whether you're shooting subjects close up or far away, you get mobility and framing versatility that 100mmclass telephoto macro lenses just can't match. 50mm F2.8 Macro (SAL50M28) ● Image circle format: 35mm (47º angle of view) ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 75mm (32ºangle of view) ● Lens configuration: 7 elements in 6 groups ● Aperture blades: 7 (circular aperture) ● Minimum aperture: F32 ● Minimum focus distance: 0.2m / 7-7/8" ● Max. magnification ratio: 1x ● Filter size: 55mm ● Lens hood: not included ● Dimensions (max. diameter x length): 71.5 x 60mm / 2-13/16 x 2-3/8" ● Weight: approx. 295g / 10.4 oz ● ADI flash metering support (distance encoder) 47 100mm F2.8 Macro (SAL100M28) A mode, F7.1 (1/125 sec.), ISO 200, Auto white balance, Flash A telephoto macro lens with a versatile and comfortable shooting distance The 100mm F2.8 Macro (SAL100M28) is a medium telephoto lens that provides amazingly sharp images, and the working distance you need to use lighting setups, reflectors, and other advanced macrophotography techniques. The increased working distance also makes it easier to get 1:1 life-size images of butterflies and other small, camera-shy creatures. A double floating mechanism minimizes aberrations to ensure crystal-clear imaging from infinity down to the mini- 48 mum shooting distance of 35cm/13.8", enabling the lens to perform as beautifully on portraits and landscapes as it does on macro close-ups. 100mm F2.8 Macro (SAL100M28) ● Image circle format: 35mm (24º angle of view) ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 150mm (16º angle of view) ● Lens configuration: 8 elements in 8 groups ● Aperture blades: 9 (circular aperture) ● Minimum aperture: F32 ● Minimum focus distance: 0.35m / 13-3/4" ● Max. magnification ratio: 1x ● Filter size: 55mm ● Lens hood: bayonet-mount round ● Dimensions (max. diameter x length): 75 x 98.5mm / 2-15/16 x 3-7/8" ● Weight: approx. 505g / 1 lb 1.8 oz ● ADI flash metering support (distance encoder) ● Included accessories: lens hood Like its 50mm sibling, the 100mm F2.8 Macro has a wide, easy-to-rotate focus ring with auto clutch, a focus hold button, a focus range limiter, and is designed for smooth intuitive operation during auto and manual focusing. 49 DT 11–18mm F4.5–5.6 (SAL1118) A mode, F5.6 (1/30 sec.), +1.3EV, ISO 200, White balance: Daylight A super wide-angle zoom for imaging beyond the limits of human vision Developed specifically for APS-C format digital SLR cameras, the DT 11–18mm F4.5–5.6 (SAL1118) zoom offers an angle of view equivalent to that of a 35mm format, 16.5–27mm zoom lens. At 11mm it provides a spectacular 104º angle of view that goes beyond the limits of human vision, with significantly enhanced perspective that adds a sense of depth and drama to the scene. At 18mm it provides a more natural perspective that is perfect for snapshots and general photography. With zoom capability, it's easy to manipulate 50 perspective to enhance the emotional impact of your photos. Three aspherical elements and one ED (Extra-low Dispersion) glass element are incorporated to suppress aberration, and flaring and ghosting have been minimized to ensure excellent contrast and quality across the zoom range. This lens also has a circular aperture for beautiful defocusing, and an internal focusing mechanism for fast, responsive AF shooting. DT 11–18mm F4.5–5.6 (SAL1118) ● Image circle format: APS-C ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 16.5mm – 27mm (104º – 76º angle of view) ● Lens configuration: 15 elements in 12 groups ● Aperture blades: 7 (circular aperture) ● Minimum aperture: F22 – F29 ● Minimum focus distance: 0.25m / 9-13/16" ● Max. magnification ratio: 0.125x ● Filter size: 77mm ● Lens hood: bayonet-mount petal ● Dimensions (max. diameter x length): 83 x 80.5mm / 3-1/4 x 3-3/16" ● Weight: approx. 360g / 12.7 oz ● ADI flash metering support (distance encoder) ● Included accessories: lens hood DT ● Aspherical element ● ED glass 51 Carl Zeiss® Vario-Sonnar® T* DT16–80mm F3.5–4.5 ZA (SAL1680Z) A standard zoom lens with an impeccable pedigree With its distinguished Carl Zeiss® pedigree, this fastresponse zoom concentrates superb all-round optical performance in a single, easy-to-carry lens. Developed specifically to match the imaging characteristics of APS-C format digital SLR cameras, it offers an angle of view equivalent to that of a 35mm format, 24–120mm zoom lens. Carl Zeiss® T* coatings ensure superb clarity and light transmission, with contrast that rivals many fixed focal length lenses across the entire zoom range. Amazingly compact despite its impressive 5x zoom power, the Vario-Sonnar® T* DT 16–80mm F3.5–4.5 ZA (SAL1680Z) is an all-round lens that you'll want to carry everywhere. Another unique appeal of this lens is its wide-angle capability. Whereas most standard zooms stop at 28mm, this one offers the equivalent of 24mm — and at that focal length, it's like having an extra lens! Constructed of 14 elements in 10 groups, the lens maintains consistent quality throughout the image, with aberration and distortion effectively compensated by the inclusion of two molded glass aspherical elements. A wide focus ring assures easy manual focusing, and an auto clutch mechanism prevents the ring from rotating during autofocus operation. 52 A mode, F6.3, (1/50 sec.) ISO 200, White balance: Daylight DT Vario-Sonnar ® T* DT16–80mm F3.5–4.5 ZA (SAL1680Z) ● Image circle format: APS-C ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 24mm – 120mm (83º – 20º angle of view) ● Lens configuration: 14 elements in 10 groups ● Aperture blades: 7 (circular aperture) ● Minimum aperture: F22 – F29 ● Minimum focus distance: 0.35m / 13-3/4" ● Max. magnification ratio: 0.24x ● Filter size: 62mm ● Lens hood: bayonet-mount petal ● Dimensions (max. diameter x length): 72 x 83mm / 2-13/16 x 3-1/4" ● Weight: approx. 445g / 15.7 oz ● ADI flash metering support (distance encoder) ● Included accessories: lens hood, lens case ● Aspherical element 53 DT 18–70mm F3.5–5.6 (SAL1870) M mode, 1/500 sec., F8, ISO 200, Auto white balance, flash A classic all-round zoom with wide, standard, and telephoto angles of view The DT 18–70mm F3.5–5.6 (SAL1870) is specifically designed to match the imaging characteristics of APS-C format digital SLRs, and offers a zoom range equivalent to that of a 35mm format, 27–105mm lens. It's an exceptionally versatile range that packs wideangle, standard, and telephoto lens capabilities into a single, compact unit, allowing you to experiment freely with the fundamental photographic elements of perspective, angle of view, and depth of field. From wide-angle landscapes with rich perspective and depth, to telephoto portraits with compressed perspective and beautiful background defocusing, the DT 18–70mm F3.5–5.6 really delivers. 54 Given the capabilities of this lens, its compact, lightweight design comes as a welcome surprise. With one aspherical and one ED (Extra-low Dispersion) glass element, effective compensation is provided for chromatic aberration and other types of distortion, ensuring sharpness and clarity right across the focal length range. The minimum focusing distance of 0.38m/15" is sufficient for standard close-up work, and the circular aperture lets you create satisfying defocused effects behind and around portraits, and in night scenes that include pinpoint light sources. DT 18–70mm F3.5–5.6 (SAL1870) ● Image circle format: APS-C ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 27mm – 105mm (76º – 23º angle of view) ● Lens configuration: 11 elements in 9 groups ● Aperture blades: 7 (circular aperture) ● Minimum aperture: F22 – F36 ● Minimum focus distance: 0.38m / 14-15/16" ● Max. magnification ratio: 0.25x ● Filter size: 55mm ● Lens hood: bayonet-mount round ● Dimensions (max. diameter x length): 66 x 77mm / 2-5/8 x 3" ● Weight: approx. 235g / 8.3 oz ● ADI flash metering support (distance encoder) ● Included accessories: lens hood DT ● Aspherical element ● ED glass 55 DT 18–200mm F3.5–6.3 (SAL18200) A high-quality one-lens solution that's ready for any challenge When you want to travel light and shoot a variety of subjects without having to change lenses, the wide zoom coverage of the DT 18–200mm F3.5–6.3 (SAL18200) delivers all the quality and flexibility you need. Specifically designed for APS-C format digital SLRs, it offers a focal length range equivalent to that of a 35mm format, 27–300mm lens, enabling you to move easily from taking long-range telephoto close-ups to shooting portraits, group photos, and indoor scenes. Constructed of 15 elements in 13 groups, the lens includes three aspherical elements and two ED (Extralow Dispersion) glass elements to correct aberration and assure clear, color-accurate images with excellent resolution and contrast across the entire zoom range. Flaring and ghosting are also suppressed, and an internal focusing mechanism enables any focal length setting to be used at the minimum shooting distance of 45cm/17.7". Add the smooth defocusing and snappy AF response that this lens offers, and you've got a combination that's tough to beat. 56 A mode, F6.3 (1/500 sec.), -0.3EV, ISO 100, White balance: Daylight DT DT 18–200mm F3.5–6.3 (SAL18200) ● Image circle format: APS-C ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 27mm – 300mm (76º – 8º angle of view) ● Lens configuration: 15 elements in 13 groups ● Aperture blades: 7 (circular aperture) ● Minimum aperture: F22 – F40 ● Minimum focus distance: 0.45m / 17-11/16" ● Max. magnification ratio: 0.27x ● Filter size: 62mm ● Lens hood: bayonet-mount petal ● Dimensions (max. diameter x length): 73 x 85.5mm / 2-7/8 x 3-3/8" ● Weight: approx. 405g / 14.3 oz ● ADI flash metering support (distance encoder) ● Included accessories: lens hood ● Aspherical element ● ED glass 57 24–105mm F3.5–4.5 (SAL24105) A 35mm format standard zoom lens with ultra-compact handling ease The 24–105mm F3.5–4.5 (SAL24105) is a 35mm format compatible lens that packs versatile zoom performance into an ultra-compact body just 69mm/2.7" long. Offering the focal length equivalent of 36– 157.5mm when it is mounted on an APS-C format digital SLR, this lens makes it easy to compose just the portrait, snapshot or landscape image you want. A 7-blade circular aperture assures beautiful background defocusing, and two aspherical elements help maintain excellent image quality over the entire zoom range by compensating for comatic aberration that can cause comet-shaped distortion of off-axis point light sources. In addition, the aspherical elements also reduce flaring and enable more compact lens design. An internal focusing mechanism improves AF response time and handling by eliminating the need to extend and retract the barrel when focusing, and a wide focus ring and auto clutch allow you to switch between automatic and manual focusing with ease. 58 A mode, F7.1 (1/200 sec.), -0.3EV, ISO 200, White balance: Daylight 24–105mm F3.5–4.5 (SAL24105) ● Image circle format: 35mm (84º – 23º angle of view) ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 36mm – 157.5mm (61º – 15º angle of view) ● Lens configuration: 12 elements in 11 groups ● Aperture blades: 7 (circular aperture) ● Minimum aperture: F22 – F27 ● Minimum focus distance: 0.5m / 19-11/16" ● Max. magnification ratio: 0.18x ● Filter size: 62mm ● Lens hood: bayonet-mount petal ● Dimensions (max. diameter x length): 71 x 69mm / 2-13/16 x 2-11/16" ● Weight: approx. 395g / 13.9 oz ● ADI flash metering support (distance encoder) ● Included accessories: lens hood ● Aspherical element 59 70–200mm F2.8 G (SAL70200G) A mode, F11 (1/8 sec.), -0.7EV, ISO 100, White balance: Daylight A bright, powerful telephoto zoom built to the highest optical standards The large-aperture 70–200mm F2.8 G (SAL70200) is a 35mm format compatible telephoto zoom lens designed to meet the demands of photographers who are uncompromising in their pursuit of image excellence. Constructed of 19 elements in 16 groups, including four ED (Extra-low Dispersion) glass elements to rigorously compensate for chromatic aberration, it offers superb sharpness and contrast across its wide focal length and aperture range. The aperture's largediameter 9-blade circular iris provides rich, portraitquality foreground and background defocusing that attracts the viewer's attention on the main subject. 60 An internal focusing system and built-in SSM (Super Sonic wave Motor) enable quiet, responsive autofocusing, with a minimum shooting distance of 1.2m/47.2" for truly dramatic close-ups. The lens also features three focus hold buttons, an electronic focus range limiter, and two DMF (Direct Manual Focus) modes: one that lets you fine-tune the focus manually after autofocus has been achieved, and one that lets you adjust the focus manually anytime. A detachable tripod mount and a petal-shaped lens hood with a slot to enable polarizing filter rotation are also provided. 70–200mm F2.8 G (SAL70200G) ● Image circle format: 35mm (34.12º – 30º angle of view) ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 105mm – 300mm (23º – 8º angle of view) ● Lens configuration: 19 elements in 16 groups ● Aperture blades: 9 (circular aperture) ● Minimum aperture: F32 ● Minimum focus distance: 1.2m / 47-1/4" ● Max. magnification ratio: 0.21x ● Filter size: 77mm ● Lens hood: bayonet-mount petal ● Dimensions (max. diameter x length): 87 x 196.5mm / 3-7/16 x 7-3/4" ● Weight: approx. 1.340g / 2 lb 15.3 oz (without tripod mount) ● ADI flash metering support (distance encoder) ● Teleconverter support ● Included accessories: lens hood, lens case ● ED glass 61 75–300mm F4.5–5.6 (SAL75300) A telephoto zoom lens of awesome versatility and power For subjects that cannot be approached, either because of distance or inaccessibility, this powerful 35mm format compatible telephoto zoom is the perfect solution. Offering a zoom range equivalent to 112.5–450mm when mounted on an APS-C format digital SLR, it captures your compositions with natural perspective at the low end of its zoom range, and with dramatically compressed perspective at the high end. This versatile performance makes it suitable for everything from sports and wildlife to landscapes and candid snapshots. And with a minimum shooting distance of just 1.5m/59" and maximum magnification of 0.25x, it lets you produce stunning, full-frame close-ups with ease. Built for easy portability and comfortable handling, the 75–300mm F4.5–5.6 (SAL75300) features 13 elements in 10 groups, a distance encoder for ADI flash metering, and a 7-blade circular aperture for crisp imaging and beautiful defocusing. Team it with a second zoom lens in the wide-angle to standard focal length range, and you've got a two-lens combo that can handle virtually any subject you're likely to encounter. 62 M mode, 1/250 sec., F5.6, ISO 200, Auto White Balance 75–300mm F4.5–5.6 (SAL75300) ● Image circle format: 35mm (32º – 8.1º angle of view) ● Focal length equivalent when mounted on an APS-C format DSLR: approx. 112.5mm – 450mm (21º – 5.2º angle of view) ● Lens configuration: 13 elements in 10 groups ● Aperture blades: 7 (circular aperture) ● Minimum aperture: F32 – F38 ● Minimum focus distance: 1.5m / 59" ● Max. magnification ratio: 0.25x ● Filter size: 55mm ● Lens hood: bayonet-mount round ● Dimensions (max. diameter x length): 71 x 122mm / 2-13/16 x 4-13/16" ● Weight: approx. 460g / 1 lb 0.2 oz ● ADI flash metering support (distance encoder) ● Included accessories: lens hood 63 1.4x Teleconverter (SAL14TC) An affordable and compact addition for powerful super-telephoto shooting Light, compact, and easy to use, teleconverters extend the focal length of the primary lens and significantly enhance your ability to capture distant subjects. Although the 1.4x teleconverter (SAL14TC) reduces the light-gathering power of the lens it is attached to by one f-stop, it boosts lens power significantly enough to make it a cost-effective and practical alternative to carrying a bulky super-telephoto lens. Designed for use with the 70–200mm F2.8 G (SAL70200G), 300mm F2.8 G (SAL300F28G), and 135mm F2.8F [T4.5] STF (SAL135F28), the 1.4x teleconverter respectively converts these three lenses into an autofocus 98–280mm F4.0 telephoto zoom, an autofocus 420mm F4 super-telephoto, and a manual focus 189mm F4 [T6.3] STF mediumtelephoto lens. Because the minimum shooting distance of the primary lens does not change, magnification is increased by 1.4x, making this teleconverter a great tool for close-up shots, too. 64 70–200mm F2.8G (SAL70200G) with 1.4x Teleconverter (SAL14TC), M mode, 1/500 sec., F5, ISO 100, Auto white balance 1.4x Teleconverter (SAL14TC) ● Image circle format: 35mm ● Lens configuration: 5 elements in 4 groups ● Dimensions (max. diameter x length): 64 x 20mm / 2-1/2 x 3/4" ● Weight: approx. 170g / 6 oz ● ADI flash metering support ● Included accessories: lens case 65 2x Teleconverter (SAL20TC) 70–200mm F2.8G (SAL70200G) with 2x Teleconverter (SAL20TC), A mode, F6.3 (1/500 sec.), -0.3EV, ISO 200, White balance: Daylight A fast, easy answer to the quest for even greater telephoto power This 2x teleconverter (SAL20TC) is compatible with the same three a lenses as the 1.4x teleconverter (SAL14TC) — extending their focal length for stunning results in sports, nature, and close-up photography, while minimizing the number of lenses you need to carry. The 70–200mm F2.8 G (SAL70200G) becomes an autofocus 140–400mm F5.6 super-telephoto zoom, the 300mm F2.8 G (SAL300F28G) becomes an autofocus 600mm F5.6 super-telephoto, and the 135mm F2.8 [4.5] STF (SAL135F28) becomes a manual-focus 270mm F5.6 [T9.0] telephoto lens. 66 Because the minimum shooting distance of the primary lens remains the same, the 2x teleconverter also effectively doubles the lens's magnification. In the case of a lens like the 135mm F2.8 [T4.5] STF, which normally offers 0.25x magnification, this means you get undiminished image quality with impressive 0.5x magnification. And although the maximum aperture of your primary lens is reduced by two f-stops when using a 2x teleconverter, you can overcome the problem of camera shake simply by boosting ISO sensitivity and utilizing the Super SteadyShot® image stabilization system built into your a System camera body. 2x Teleconverter (SAL20TC) ● Image circle format: 35mm ● Lens configuration: 6 elements in 5 groups ● Dimensions (max. diameter x length): 64 x 43.5mm / 2-1/2 x 1-11/16" ● Weight: approx. 200g / 7.1 oz ● ADI flash metering support ● Included accessories: lens case 67 A beautiful union of craftsmanship and high technology, brought to you exclusively by Carl Zeiss® and Sony Carl Zeiss® lenses Take the unrivalled optical skills of renowned lensmaker Carl Zeiss® . . . add Sony's world-leading expertise in digital imaging systems . . . and you've got a winning combination that is providing today's digital SLR photographers with access to brilliant new standards of image quality. The a series lineup already includes three high-performance lenses that are a product of this collaboration: the Planar® T* 85mm F1.4 ZA (SAL85F14Z), the Sonnar® T* 135mm F1.8 ZA (SAL135F18Z), and the Vario-Sonnar® T* DT 16-80mm F3.5-4.5 ZA (SAL1680Z).All three can capture the subtlest details of the subject in clear, sharp images with authentic color rendition and superb background defocusing. Textures are revealed with a clarity that is almost tangible, while highlights and shadow areas that other lenses present with little or no definition are captured with extraordinary precision as a well-defined, clearly discernible tonal gradations. Delivering consistently accurate and reliable performance at every focal length they cover, these outstanding lenses put the no-compromise quality demanded by professionals firmly in the hands of a System users. 68 69 Digital SLR basics 072–089 Digital SLR basics 1 How an SLR camera works Designed for better imaging: the a System difference The SLR difference: interchangeable lenses let you call the shots Pentaprism/pentamirror Corrects the left/right orientation of the image reversed by the mirror and directs it to the viewfinder eyepiece. Viewfinder Provides a clear, real-image view of the subject that is essentially identical to the image that will be captured by the sensor. Main mirror Reflects the image composed by the lens up into the viewfinder pentaprism/pentamirror. Single-lens reflex cameras, commonly referred to as SLR cameras, are fundamentally different from pointand-shoot compact cameras in that they use interchangeable lenses. This is probably the single greatest advantage of SLR photography, because the ability to change lenses means you have much greater creative control over how your photos look. determine the lens's performance characteristics, and an aperture mechanism, often referred to as an iris or diaphragm, which controls the size of the opening through which the light passes. Although the autofocusing mechanism on many lenses is driven by a motor in the camera body, some lenses contain an autofocus drive motor of their own. Basically, a digital SLR camera consists of a body and one or more interchangeable lenses. The camera body contains the image sensor and the viewfinder through which you look to frame your subject, as well as the various mechanisms and electronic components needed to measure light values, control the shutter speed, and operate the shutter. The lens, on the other hand, contains the optical elements that When you aim a digital SLR camera at your subject, light rays reflected from the subject pass through the camera lens, where they are composed into an image that is projected onto a mirror positioned at a 45° angle in front of the camera's image sensor. The mirror reflects this image up into a glass pentaprism/ pentamirror on the top of the camera body where it is redirected to the viewfinder eyepiece. Since the 72 Pentaprism/ pentamirror Focusing screen Viewfinder Viewfinder Image sensor Image sensor Aperture iris (full-open aperture) Aperture iris (shooting aperture) Shutter Shutter Mirror 1) Subject image to viewfinder The mirror and pentaprism/pentamirror direct the subject image to the viewfinder eyepiece, enabling accurate framing and focusing regardless of the lens attached. Image sensor Captures the image formed by the lens, performing the same role that film plays in a conventional film camera. Aperture iris Controls the amount of light reaching the sensor, and plays a central role in determining depth of field and other imaging characteristics. Pentaprism/ pentamirror Focusing screen 2) Subject image to image sensor When the shutter is released, the mirror flips up to allow the subject image to fall on the image sensor. Electrical contacts Electrical contacts Locking pin hole Lens mount The lens mount is the interface that connects the lens to the camera body. Precision-machined surfaces ensure positive mounting, with mechanical and electronic contacts for accurate autofocusing, aperture control, and data exchange. The rim of the mount is finished in the a System's signature color, cinnabar. Alignment mark Mirror Alignment mark Locking pin Aperture lever Aperture lever AF coupler AF coupler Lens left/right orientation of the image gets reversed when it reflects off the mirror, the pentaprism/pentamirror also flips the image on the horizontal axis so that it appears in the viewfinder the same way it does to the naked eye. Regardless of the aperture setting you use when you actually take a photo, the iris mechanism in the lens remains in the full-open position until the moment of shutter release to provide the brightest possible viewfinder image while you compose your shot. If you are taking a photo at the maximum aperture setting, the iris stays in the full-open position when the shutter is released; if not, then the blades of the iris extend, reducing the size of the aperture to achieve the desired setting. At the same time, the mirror in the Camera body camera body swings up out of the way, and the shutter in front of the image sensor opens to allow light from the lens to strike the sensor. When the light has been captured by the sensor, the shutter closes, the mirror returns to its original position, and the iris blades retract, returning the aperture to full-open position. This complex series of actions is executed the instant you press the shutter button, and is fundamental to SLR photography. But the important thing is that the scene you see in the viewfinder is essentially identical to the image that is delivered to the image sensor. Regardless of the lens you choose to shoot with, the scene you see and the scene the camera records are the same. 73 Digital SLR basics 2 Body-integrated image stabilization Super SteadyShot® Inside: body-integrated camera shake protection with any a lens Super SteadyShot® is the key to blur-free low-light, telephoto and macro shooting Camera shake vs. shutter speed, focal length and magnification Slow shutter speeds, long focal lengths, and high magnifications all increase the risk of blurring caused by camera shake. Although you may be able to reduce the risk somewhat by increasing ISO sensitivity or opening the aperture, Super SteadyShot image stabilization provides a wider margin of safety in all three cases. Low risk High risk Camera shake risk No camera shake blur Super SteadyShot ON A slow shutter speed of 1/8 sec. was needed to capture the sense of dynamic motion in the stream above. With Super SteadyShot image stabilization on, only the surface of the flowing water is blurred; with image stabilization off, the entire image is blurred. Entire image blurred Super SteadyShot OFF Fast Shutter speed Short (wide-angle) Focal length Low Magnification Low-light shooting Indoor shots, night scenes, and other low-light shooting situations that require the use of slower shutter speeds inevitably increase the risk of camera shake. No camera shake blur Super SteadyShot ON High-power telephoto shots are particularly susceptible to blurring caused by camera shake, but with the Super SteadyShot system you can enjoy the benefits of image stabilization with any a lens, from wide-angle to telephoto. Even if you're new to digital photography, today's advanced cameras make it relatively easy to take correctly focused and exposed photos. But there will still be times when you enlarge a photo that you thought was going to be a winner, and discover that, in fact, the image is quite blurry. This blurring is usually caused by camera shake, which even the steadiest hand can find hard to overcome at slow shutter speeds and the higher magnifications of telephoto and macro shooting. To prevent blurring caused by camera shake, the generally accepted rule of thumb is to use a shutter speed 74 Slow Long (telephoto) High Telephoto shooting Telephoto lenses enable you to take close-up shots of distant subjects, but the risk of camera shake increases significantly at longer focal lengths. Macro shooting Macro lenses enable you to take truly dramatic close-ups, but the higher magnification increases the risk of camera shake and motion blurring. Entire image blurred Super SteadyShot OFF at least as fast as "1 divided by the focal length." This means that to prevent blurring when the focal length of the lens is 50mm, you should use a shutter speed of 1/60 sec. or faster. And when shooting at a focal length of 100mm, you should use a shutter speed of 1/125 sec. or faster. Of course you can try to prevent camera shake simply by being careful to hold the camera steady and using faster shutter speeds, or by using a tripod. But those solutions are not always an option. The light may be too dim to allow the use of fast shutter speeds, and even if a tripod is available, there may not be time to set it up. That's why image stabilization systems are so useful. Although it is possible to compensate for camera shake optically, within the lens, this increases the weight, size, and cost of the lens considerably. A more efficient approach is to integrate image stabilization directly into the camera body, so that its benefits can be enjoyed with all lenses. And that's the approach the Super SteadyShot ® system takes. With the Super SteadyShot image stabilization system, two gyro sensors and actuators are integrated into the camera body. When camera shake is detected, the actuators instantly shift the camera's image sensor in the opposite direction to compensate for the motion. Although the stabilizing effect varies according to the lens and shooting conditions, it is generally effective enough to allow shooting at shutter speeds up to 3.5 steps slower than would otherwise be possible. 75 Digital SLR basics 3 Focal length Understanding of focal length: a guide to intelligent lens selection Focal plane (image sensor plane) Nominal focal length vs. equivalent focal length Focal plane (image sensor plane) Angle of view with an APS-C format digital SLR Focal length Optical center of lens 300mm 200mm 100mm 50mm 35mm 3°10 The specifications inscribed on the front of each lens are always stated in terms of the 35mm format. To determine the equivalent view when the lens is mounted on an APS-C format digital SLR, multiply the stated focal length by 1.5. , 5°20 , 8° At 200mm focal length 16° 32° 44° 61° 18mm 76° Focal length (mm) 104° Angle of view (degrees) (with lens mounted on an APS-C format digital SLR) One of the greatest attractions of SLR photography is the wide variety of lenses you can use to shoot with. But which one should you choose? Since the choice of lens will vary according to your shooting situation and creative intent, it's not always easy to know which one to pick. But focal length plays a key role in determining lens performance, and a thorough undestanding of the subject will help you make the right choice. Basic lens specifications are inscribed on the front of every a lens. On the front of the DT 18–70mm F3.5–5.6 76 APS-C format digital SLR image area (23.6 x 15.8mm) Angle of view with a 35mm format SLR 35mm format SLR image area (36 x 24mm) The a System includes DT series lenses that are specifically designed for use with APS-C format digital SLR cameras, and 35mm format lenses that can be used with both 35mm format SLR cameras and APS-C format digital SLR cameras. Because the image circle of the 35mm format is approximately 1.5 times larger than the image circle of the APS-C format (43.3mm vs. 29mm), the equivalent focal length of a 35mm format lens mounted on an APS-C format camera body is approximately 1.5 times greater than the nominal focal length of the lens. Image captured by a 35mm format SLR Image captured by an APS-C format digital SLR At 100mm focal length 24mm 11mm APS-C format digital SLR image circle (ø29mm) Focal length is the distance from the optical center of the lens to the focal plane when a subject at infinity is in focus. The angle of view, also known as the picture angle, is measured in degrees of arc and determines how much of the scene can be included in the frame. Angle of view (measured diagonally) 500mm 35mm format SLR image circle (ø43.3mm) At 28mm focal length At 18mm focal length The four photos shown here were taken from the same point, but at different focal lengths to demonstrate how focal length affects the angle of view, the size of the subject in the frame, and the apparent perspective. The conceptual chart at the left shows the correlation between focal length and angle of view when shooting with an APS-C format digital SLR. (SAL1870) zoom lens, for example, the inscription reads: "DT3.5–5.6/18–70 0.38m/1.3ft MACRO ø55." The DT prefix indicates that the lens is specifically designed for use with APS-C format digital SLRs, and the numbers 3.5–5.6 indicate the maximum aperture (f-stop setting) possible at the shortest and longest focal lengths, which are 18mm and 70mm, respectively. The 0.38m/1.3ft designation indicates the minimum focusing distance of the lens in meters and feet, and ø55 indicates filter size, in millimeters, that the lens accepts. Another way to look at it is to consider the image area of the two respective formats. The image area of the traditional 35mm format is 36 x 24mm, whereas the size of an APS-C type image sensor is 23.6 x 15.8mm. This means that when a 35mm format lens is mounted on an APS-C format camera, the camera only 'sees' the central portion of the image, effectively cropping the image to a smaller field of view that is equivalent to what a lens with a 1.5x longer focal length would produce on a 35mm format camera. Lenses are generally categorized according to their focal length because the focal length determines the area of the image captured (angle of view), and can significantly effect depth of field and apparent perspective. The most common such categories are super-wide angle, wide-angle, standard, mediumtelephoto, telephoto, and super telephoto, although macro and other special-purpose lenses are sometimes treated as a separate category. Zoom lenses are categorized in the same way according to the focal length range they cover. 47° angle of view 32° angle of view Focal length (50mm) Focal plane Optical center of lens In optical terms, focal length is defined as the distance in millimeters from the optical center of a lens to the focal plane (image sensor plane) when a subject at infinity is in sharp focus. The size of the subject and the area covered vary according to the focal length; at short focal lengths the subject appears smaller but the angle of view is wider; at long focal lengths the subject appears larger but the angle of view is narrower. 77 Digital SLR basics 4 Focal length and angle of view Focal length lets you control angle of view and magnification Focal length 11mm (16.5mm) Angle of view Focal length 18mm (27mm) Angle of view 76° 104° Focal length 35mm (52.5mm) Angle of view Focal length 50mm (75mm) Angle of view 32° 44° Focal length 135mm (202.5mm) Angle of view Focal length 200mm (300mm) Angle of view 8° 12° Focal length 24mm (36mm) Angle of view Focal length 28mm (42mm) Angle of view 54° 61° Focal length 70mm (105mm) Angle of view Focal length 100mm (150mm) Angle of view 16° 23° Focal length 300mm (450mm) Angle of view 5° 20 Focal length 500mm (750mm) Angle of view , 3° 10 , Focal length figures in parentheses indicate the equivalent focal length that will be obtained when shooting with an APS-C format digital SLR. If you mount a zoom lens on an SLR camera and zoom in while looking through the viewfinder, your view of the world narrows, and details of the scene in front of you seem to grow in size dramatically. These changes are a direct result of the changes in focal length you make when you rotate the zoom ring. When you zoom in or out, the most noticeable difference is the change in the angle of view. The angle of view tells you how 78 much of a scene can be covered by the lens at a particular focal length. It is expressed in degrees and is generally measured diagonally. The twelve pictures above were taken from the same point at different focal lengths to demonstrate how the angle of view changes. At shorter focal lengths, the area of the scene that can be captured is larger and the elements that make up the scene appear smaller. At longer focal lengths, the reverse is true: the area that can be captured is smaller and the elements that make up the scene appear larger. Lenses that offer an angle of view of about 47 degrees are commonly referred to as standard lenses because the view they offer is very similar to what can be seen with the naked eye. By the same token, zoom lenses that include this angle of view in their focal length range are referred to as standard zoom lenses. The DT18–70mm F3.5–5.6 (SAL1870) zoom lens, which has an angle of view that ranges from 23° to 76°, is a good example of a standard zoom lens. 79 Digital SLR basics 5 Focal length and apparent perspective Focal length and shooting distance let you control apparent perspective Focal length 11mm (16.5mm) Angle of view 104° Focal length 70mm (105mm) Angle of view 23° Focal length 16mm (24mm) Angle of view Focal length 24mm (36mm) Angle of view Focal length 50mm (75mm) Angle of view 61° 76° Focal length 100mm (150mm) Angle of view Focal length 200mm (300mm) Angle of view 16° 32° Focal length 300mm (450mm) Angle of view 8° 5° 20 , Focal length figures in parentheses indicates the equivalent focal length that will be obtained when shooting with an APS-C format digital SLR. Perspective refers to the apparent relative distance and position of the elements in a scene. In a photograph, if the distance between foreground and background elements appears greater than it does to the naked eye, we say the perspective seems exaggerated. If, on the other hand, the distance appears to be less than it does to the naked eye, we say the perspective seems compressed. Understanding perspective can be tricky, though, because it is intimately connected with human perception and how our brains process visual information. In the previous section, Focal length and angle of view (pp. 78–79), the 12 sample photos showed how the angle of view changes with focal length. But what about perspective? Although there may appear to be a difference in perspective, as the three photos at the bottom of the following page (p. 81) show, there is actually none. 80 So how can perspective be controlled? The answer is to change both focal length and shooting distance. In the sample photos above, the photographer moved farther away from the subject each time the focal length was increased. As a result, the size of the young girl in the foreground remains constant, but the size of the elements in the background increases. In the first photo in the series, taken at focal length of 11mm, the perspective seems exaggerated and the young girl appears to be standing quite far away from the buildings and sidewalk café behind her. But in the last photo, taken at 300mm, the perspective seems compressed and the young girl appears to be standing almost level with the café's signboard. Photos taken at different focal lengths will have the same apparent perspective if the subject distance is the same. If you compare the central portion of an image taken at 28mm with a full-frame view of an image taken from the same point at 100mm, you can see that the perspective remains constant. Full-frame view of image taken at 28mm Central portion of image taken at 28mm Full-frame view of image taken at 100mm By experimenting with various focal lengths and shooting distances, you can learn to control perspective at will, and use it to enhance the expressiveness and creativity of your photographs. 81 Digital SLR basics 6 Depth of field Depth of field: the key to controlling how much of a scene is in focus The ABCs of depth of field: aperture, focal length and shooting distance Depth of field vs. aperture / focal length / shooting distance Aperture, focal length, and shooting distance can all affect depth of field significantly. By understanding the role these factors play, you can control the extent to which various elements in the frame are in or out of focus. Shallow Deep Depth of field Large (smaller f-stop numbers) Aperture Depth of field determines the extent to which things in front of and behind the actual focus point will appear in focus. In this shot, the photographer focused on the second glass from the left. Depth of field is a term that refers to the extent to which things in front of and behind the actual focus point will be in focus. When the depth of field is extremely shallow, only things that are in the same plane as the focus point will be in sharp focus; foreground and background elements will appear blurry and out of focus. When depth of field is relatively deep, foreground and background elements within a certain range of the main subject will also be in focus. It's also important to note that, generally speaking, approximately one-third of this zone of sharp focus is in front of the focus point, and approximately twothirds of it are behind the focus point. 82 24–105mm F3.5-4.5 (SAL24105), A mode, F6.3 (1/100sec.), ISO 100, White balance; Daylight Depth of field is affected by the aperture setting, focal length, and shooting distance. In the case of the aperture setting, smaller apertures (larger f-stop numbers) increase depth of field, and larger apertures (smaller f-stop numbers) decrease depth of field. On a lens with an aperture range of F1.4 to F22, opening the aperture up to F1.4 results in a shallow depth of field, and narrowing the aperture to F22 results in a deep depth of field. In the case of focal length, depth of field is deeper at shorter focal lengths and shallower at longer focal lengths. And assuming that the aperture and focal Small (larger f-stop numbers) Long (telephoto) Focal length Short Shooting distance Wide-angle lens at small aperture (deep depth of field) A landscape photo like the one above is a typical example of a situation in which you want a deep depth of field to ensure overall sharpness of the image. In this case, a relatively wide-angle lens set to a smaller aperture (larger f-stop number) will help you achieve your creative goals. Short (wide-angle) Long Telephoto lens at large aperture (shallow depth of field) For wildlife photography and situations where you want your subject to stand out from the background, the shallow depth of field of a telephoto or super-telephoto lens set to a larger aperture (smaller f-stop number) will help you defocus the background to make the main subject stand out. length remain constant, the depth of field is deeper at long shooting distances, and shallower at short shooting distances. Macro lens at close range (shallow depth of field) At the extremely short shooting distances typical of macro photography, depth of field is inherently very shallow. If you want to emphasize this even more you can use a larger aperture setting (smaller f-stop number) to ensure that only limited part of your subject is in focus. will probably want to use a lens with a relatively short focal length and shoot at a small aperture to ensure as much of the scene as possible is in sharp focus. Once you understand the relationship between these various factors, you can use them to manipulate depth of field to suit your creative intent and subject matter. If you are taking a portrait photo, for example, you will probably want to use a lens with a relatively long focal length, such as a medium telephoto lens, and shoot at a large aperture to defocus the background and make your subject stand out. If, on the other hand, you are taking a scenic photo, you 83 Digital SLR basics 7 Utilizing depth of field Manipulating depth of field to achieve your creative goals 35mm F1.4 G (SAL35F14G) at F1.4 35mm F1.4 G (SAL35F14G) at F22 Changing aperture setting to vary the depth of field These two photos of a chessboard were shot from the same distance and at the same focal length, but with different aperture settings. At F1.4 the depth of field is so shallow that everything in front of and behind the focus point is defocused, while at F22, the other chess pieces and the furniture in the background are more fully defined. 75–300mm F4.5–5.6 (SAL75300) at 300mm, F5.6 Changing the focal length to vary the depth of field The two photos above were shot at the same aperture setting, but at different focal lengths. (For purposes of comparison, shooting distance was also adjusted to ensure that the composition of the two photos is the same.) As you can see, the depth of field is shallower and background defocusing is much more pronounced in the shot taken at 300mm than in the shot taken at 50mm. 84 100mm F2.8 Macro (SAL100M28) at approx. 0.6m shooting distance 100mm F2.8 Macro (SAL100M28) at approx. 1.2m shooting distance Changing the shooting distance to vary the depth of field These two macro photos of a poppy flower were taken at the same aperture setting and focal length, but from different distances. As you can see, the depth of field is shallower and background defocusing is much more pronounced in the shot taken from 0.6m than in the shot taken from 1.2m. DT 18–70mm F3.5–5.6 (SAL1870) at 50mm, F5.6 As explained in the preceding section (pp. 82-83), aperture plays a significant role in controlling depth of field. In an actual shooting situation, however, focal length and shooting distance are likely to be your first priority because it is these two factors that determine the composition of your shot. If your subject is a faraway mountain range, for example, the long shooting distance assures deep depth of field even if you use a telephoto lens with a shallow depth of field. And if your subject is very close to the camera, the depth of field will be shallow and the background will be defocused even if you use a wide-angle lens with a deep depth of field. Furthermore, if the distance from your main subject to the background is very short, you will find background defocusing difficult to achieve even with a large-aperture telephoto lens. So although aperture-based depth of field control is an extremely powerful creative tool, you should remember that the shooting situation itself may limit the degree to which it can be effectively used. Depth of field and defocusing are inversely related: as depth of field increases, background defocusing becomes harder to achieve, and as depth of field decreases, background defocusing becomes easier to achieve. So consider your creative goals, and select a lens and aperture setting that will let you get the results you seek. If you want to include as much background detail as possible, use the smallest possible aperture, and if you want to defocus the background to make it less distracting, use the largest possible aperture. With telephoto lenses, also pay attention to the distance from your subject to the background; the longer the distance, the greater the degree of defocusing. If you prefer less defocusing, use a smaller aperture and increase the shooting distance by moving away from your main subject. On macro shots, extremely short shooting distances can make the depth of field so shallow that you will need to use a small aperture if you want to ensure that all of your main subject is in focus. 85 Digital SLR basics 8 Macro shooting Consider minimum shooting distance and magnification when choosing a macro lens Move in close to maximize magnification and visual impact Magnification ratio: life size (1x) Magnification ratio: 0.5x Magnification ratio: 0.33x Magnification ratio: 0.25x Magnification ratios The magnification ratio is the ratio between the actual size of an object and the size it will be when captured by the image sensor at the minimum shooting distance. 50mm Macro lens (SAL50M28) Working distance (approx. 5cm/2" at 1x magnification) Image sensor Minimum shooting distance (approx. 20cm/7.9" at 1x magnification) 100mm Macro lens (SAL100M28) Working distance (approx. 16cm/6.3" at 1x magnification) Image sensor Minimum shooting distance (approx. 35cm/13.8" at 1x magnification) With the life-size imaging capabilities of a dedicated, high-performance macro lens, you can turn everyday objects into strikingly original and artistic photos. The ability to capture stunning, high-quality macro images at very close range is another advantage of SLR photography. But how close you can actually get to your subject depends on the minimum shooting distance of the lens you are using. Most lenses are designed to meet the needs of general photography and achieve their highest performance in the middle to far distance. As such, their minimum shooting distance is usually about 10 times their focal length. The 50mm F1.4 (SAL50F14), for example, has 45cm/17.7" minimum shooting distance. Macro lenses, on the other hand, are specifically designed for close-up shooting performance. The 86 100mm F2.8 Macro (SAL100M28), M mode, 1/60 sec, F4, ISO 100, White balance; Custom with HVL-F56AM flash unit Shooting distance vs. working distance You may sometimes hear photographers refer to the "working distance" of a lens. Although similar in concept to shooting distance, the two terms are not interchangeable. Working distance is measured from the subject to the front of the lens, whereas shooting distance is measured from the subject to the focal plane. 50mm F2.8 Macro (SAL50M28), for example, has a minimum shooting distance of 20cm/7.9". making it possible to get much closer to your subject than you can with a normal lens. And although it produces truly beautiful macro images, it is by no means limited to close-up shooting, and is an excellent choice for portrait and landscape photos, too. size of 1cm. Both the 50mm F2.8 Macro and the 100mm F2.8 Macro (SAL100M28) feature a maximum magnification ratio of 1x that enables them to produce life-size images. Compared to the maximum magnification ratio of 0.15x offered by a standard lens like the 50mm F1.4, the difference in close-up capability is evident. The maximum magnification ratio of a macro lens indicates the magnification of the lens at its minimum shooting distance, and is a key indicator of close-up performance. A maximum magnification ratio of 0.25x, for example, indicates that an object 4cm in size will be captured by the camera's image sensor at a Although the minimum shooting distance and the maximum magnification ratio are both important measures of macro performance, in practice it is the minimum shooting distance that should guide you in your choice of lens. If your objective is to take photos of butterflies or other insects and small living creatures, a lens with a slightly longer minimum shooting distance will allow you to shoot from farther away and reduce the likelihood that your subject will be frightened away. With the 50mm F2.8 Macro and the 100mm F2.8 Macro, you can obtain impressive 1x life-size images from distances of about 20cm/ 7.9" and 35cm/13.8", respectively. Just choose the one that suits the shooting situation best. 87 Digital SLR basics 9 Lens hoods 10 A simple tool that plays an important role in assuring superior image quality Circular polarizing filters Polarizing filters suppress reflection and assure optimum contrast and color Flaring is produced by extraneous light reflecting off the surface of lens elements or the inside of the lens barrel, and can cause streaking and significantly reduce image contrast. In the left-hand picture shot without a lens hood, contrast is poor, with visible flaring in the upper right quadrant of the frame. Without lens hood (flaring, poor contrast) Visible ghosts a With lens hood (no flaring, high contrast) Enlarged view No ghosts Ghosts are a form of flaring that produces spot-shaped blemishes. (photo, far left). Ghosting is most likely to occur in strongly backlit situations when the sun is close to the edge of the image field. Even with a lens hood attached, there are times when ghosting cannot be avoided, and the only way to eliminate it is to shift your position slightly and reframe the shot. (photo, near left) Without polarizing filter Because circular polarizing filters effectively screen out light reflected from dust particles and water vapor in the atmosphere, the blue color tones of the sky appear exceptionally rich and deep. With polarizing filter How lens hoods work a lenses are provided with petal or round lens hood according to lens type. Extraneous light Light needed for image formation Extraneous light Without polarizing filter Lens hood Photographic images are formed by capturing light, but not all of the light that enters a lens is necessarily "good" light. Light rays that enter the lens at too sharp an angle do not contribute to image formation. On the contrary, they can reflect off the lens elements and the inside of the lens barrel, causing image anomalies known as "flaring" and "ghosting." Flaring often appears as noticeable streaks of light and can significantly degrade overall image contrast, while ghosting appears as blemishes that can seriously detract from the beauty of an image. To help prevent such flaring and ghosting, a lenses feature multi-coated elements, and virtually all are 88 a (Upper photo: SAL1118 with petal hood; lower photo: SAL300F28G with round hood) equipped with a detachable or built-in lens hood that is specially designed to match the imaging characteristics of the lens. Telephoto lenses that have relatively narrow angle of view, for example, come with easyto-store round hoods that extend forward from the lens to afford maximum protection. Wide-angle lenses and some zoom lenses, on the other hand, are equipped with petal-shaped hoods that provide protection without intruding into the lens's imaging area. When shooting with flash you should remove or retract the hood to prevent it from casting a shadow into the image frame, but otherwise you should always keep the hood in place to protect the quality of your images. Foliage also benefits significantly from the use of a polarizing filter, with highly saturated color and improved contrast that enhances detail and overall image clarity. Polarizing filters, also known as PL filters, suppress glare and reflection to ensure optimum image quality, particularly on landscape photos. There are two basic types of polarizing filters: circular polarizing filters, which are designed for use with autofocus lenses, and linear polarizing filters, which can only be used with manual-focus lenses. Just like the polarized sunglasses often worn by fishermen and boating enthusiasts, polarizing filters are extremely effective in cutting glare from water, glass, and other highly reflective surfaces. Even more important from the standpoint of photography, they screen out the scattered light that is reflected by airborne With polarizing filter dust and water vapor particles, improving contrast and color saturation when shooting outdoors. Circular polarizing filters are most effective in bright, sunny weather when the sun is at your back and at a 90° angle to your subject. Before shooting, look the viewfinder and rotate the filter to find the point at which its effect is the strongest. On landscape shots, you'll be rewarded by improved contrast and noticeably richer greens and blues in foliage and the sky. 89 Choosing the right lens 092–115 Choosing the right lens — 1 Portraits Defocus the background to bring your subject to life In portrait photography, you generally want to use a large aperture to ensure a shallow depth of field. This enables you to blur background details and focus the viewer's attention on the main subject. Tight framing can also help eliminate distracting background elements, but it's difficult for your subjects to relax and pose naturally if you stand too close. The solution is to use a medium telephoto or telephoto lens that enables you to frame your subject tightly 92 while maintaining a comfortable shooting distance. With a bright lens like the Planar ® T* 85mm F1.4 ZA (SAL85F14Z), you can open the aperture up to obtain a very shallow depth of field that throws the main subject into dramatic relief. Remember, though, that foreground and background elements can sometimes add interest to your photos, so experiment and take several shots at different aperture settings to see what works best in each scene. Planar ® T* 85mm F1.4 ZA (SAL85F14Z), M mode, 1/200 sec., F4, ISO 100, White balance: Daylight 93 Portraits DT 11-18mm F4.5-5.6 (SAL1118), M mode, 1/125 sec., F11, ISO 100, White balance: Daylight, HVL-F56M flash unit Use large-aperture lenses indoors and wide-angle lenses for action portraits Although medium telephoto and telephoto lenses are a popular choice for portraits, they are not your only option. Indoors, a large-aperture standard lens like the 50mm F1.4 (SAL50F14) provides excellent background defocusing and enables the use of faster shutter speeds for handheld shooting. And when mounted on a digital SLR with an APS-C type image sensor, such a lens has an effective focal length that approaches that of a medium telephoto lens. 94 Wide-angle lenses can also be used to capture dynamic action portraits of subjects as they move about. Such lenses also offer greater depth of field, enabling you to include background and foreground details that can reveal the time, place, and context of a scene. Just be sure to choose your shooting angle carefully to ensure that such details enhance the overall beauty of the final image. 50mm F1.4 (SAL50F14), M mode, 1/30 sec., F2.5, ISO 200, White balance: Daylight 95 Choosing the right lens — 2 Landscapes DT 11–18mm F4.5–5.6 (SAL1118), M mode, 1/500 sec., F10, ISO 100, Auto white balance Use wide-angle zoom and small apertures to capture sweeping vistas and sharp detail Landscape photos can be taken with a variety of standard lenses, but super wide and wide-angle lenses are often chosen for their ability to capture scenic vistas on a grand scale. A super wide-angle lens like the DT 11–18mm F4.5–5.6 (SAL1118), which offers a focal length equivalent to 16.5–27mm when mounted 96 on a digital SLR with an APS-C type image sensor, not only enables you to get more of the scene in the frame, it can also significantly enhance the apparent perspective to add depth and drama to the scene. In the photo shown here, for example, the seemingly enhanced perspective naturally draws the viewer's eye from the snowfield in the foreground to the majestic peaks in the distance. require the use of slower shutter speeds, a tripod and remote shutter release like the RM-S1AM Remote Commander are recommended additions to your kit. You can also use a small aperture setting of F11 or above to achieve a pan-focus effect that ensures crisp imaging across the entire scene. Since this may 97 Landscapes DT 18–200mm F3.5–6.3 (SAL18200), M mode, 1/125 sec., F7.1, ISO 100, White balance: Daylight Include multiple elements in the frame, and zoom in to achieve a balanced composition Composition is the key to successful landscape photography, and you can add depth and interest to your photos by including foreground and background elements in the frame. In the image on the left, for example, the photographer used a 20mm super wide-angle lens to include a vast expanse of sky in the frame. In this case, it is the clouds that make this technique effective; without 98 20mm F2.8 (SAL20F28), M mode, 1/80 sec., F11, ISO 100, White balance: Daylight them, the image would seem flat and uninteresting. Zoom lenses are also often used in landscape photography because they make it easy to change the framing to achieve an aesthetically pleasing balance between the various elements in your composition. In the photo above, the photographer zoomed in on the forest until the bright green meadow grass occupied about one-third of the image area, creating a wellbalanced and visually attractive composition. 99 Choosing the right lens — 3 Snapshots For snapshots, nothing beats the handling ease and framing flexibility of a standard zoom lens Spontaneity is the key to successful snapshot shooting. Image quality is important, of course, but it is even more important to capture the moment. Because there are photo opportunities nearly everywhere, a snapshot lens should be light, compact, and easy to carry. In the past, this generally meant you were limited to fixed focal length lenses, but with today's advanced optical technology you can now choose from a wide range of high-performance zoom lenses. 100 Compact zooms not only let you frame your shots freely, they also offer fast zooming and focusing that let you respond to photo opportunities quickly. And although zoom lenses are often not as bright as fixed focal length lenses, you can use Super SteadyShot® in-camera image stabilization and high-sensitivity ISO settings to help you achieve blur-free results in low light. For flexibility, handling ease, and supersharp photos at a moment's notice, a compact zoom lens is hard to beat. Vario-Sonnar ® T* DT 16–80mm F3.5–4.5 ZA (SAL1680Z), A mode, F6.3 (1/40 sec.), ISO 200, White balance: Cloudy 101 24–105mm F3.5–4.5 (SAL24105), A mode, F8 (1/640 sec.), ISO 100, White balance: Daylight Snapshots When you see an opportunity, shoot once, then reframe your subject and shoot again The secret of good snapshot photography is to respond to photo opportunities quickly and spontaneously. Such opportunities can be short-lived, so take at least one shot right away. Zoom lenses are ideal for this sort of spontaneous shooting. Standard zoom lenses like the Vario-Sonnar® T* DT 16–80mm F3.5–4.5 ZA (SAL1680Z), DT 18–70mm F3.5–5.6 (SAL1870), and 24–105mm F3.5–4.5 (SAL24105) are particularly well suited to this kind of photography. In addition, the telephoto zoom DT 18–200mm F3.5–6.3 102 Vario-Sonnar ® T* DT 16–80mm F3.5–4.5 ZA (SAL1680Z), A mode, F11 (1/200 sec.), ISO 100, White balance: Daylight (SAL18200) offers portability and operating ease that make it an excellent choice, too. Once you've taken the first shot, spend a bit more time shooting at different exposure settings, and vary the composition by zooming in or out. In a photo like the one on the facing page, a change in focal length alone can make a big difference. And in a photo like the one above, varying the amount of sky, sea, and shoreline you include in the frame can create an entirely new composition. With a zoom lens, it's easy! 103 Choosing the right lens — 4 Macro close-ups Choose a 100mm macro for working distance, and a 50mm macro for mobility and easy handling a macro lenses feature high-quality optics that achieve crisp imaging with an exceptionally shallow depth of field at close range. It is this outstanding quality that creates a dramatic contrast between the incredible sharpness of the part of the image that is in focus, and the smooth, attractive texture of the part of the image that is out of focus. Macro lenses are available in different focal lengths, and you should base your choice of macro lens on the type of photos you want to shoot. A 100mm medium telephoto macro lens enables you to defocus the 104 background significantly even at relatively low magnification, and because it allows you to shoot from slightly further away, it makes it easier to photograph subjects such as butterflies and insects that may take wing if you get too close. A 50mm macro lens, on the other hand, offers a wider angle of view that enables you to include background elements that add context to your composition and help establish the scene. It is lighter and more compact, making it easier to hold the camera steady and maintain crisp focus under conditions of high magnification and extremely shallow depth of field. 50mm F2.8 Macro (SAL50M28), A mode, F4 (1/500 sec.), ISO 100, White balance: Daylight 105 100mm F2.8 Macro (SAL100M28), A mode, F4 (1/6 sec.), +1.3EV, ISO 100, White balance: Cloudy DT 11–18mm F4.5–5.6 (SAL1118), A mode, F11 (1/15 sec.), +0.3EV, ISO 100, White balance: Daylight Macro close-ups Specifically designed for close-up shooting, macro lenses open the door to a hidden world Flowers are naturally attractive subjects for close-up photography, and many mid-range zoom lenses are perfectly adequate for taking pictures of lilies, sunflowers, and other relatively large floral subjects. Zoom lenses like the DT 18–70mm F3.5–5.6 (SAL1870), DT 18–200 F3.5–6.3 (SAL18200), and 75–300mm F4.5-5.6 (SAL75300) offer magnifications of up to 0.25~0.27x, enabling you to capture frame-filling images of subjects slightly larger than a credit card. Because they are generally not as bright as dedicated macro lens106 es, you may need to use slower shutter speeds when shooting in shady conditions. If the wind is causing your subject to move, you can prevent motion blur by boosting the camera's ISO sensitivity and to allow use of faster shutter speeds. blur, and large apertures to significantly defocus the background. And the unique 135mm F2.8 [T4.5] STF (SAL135F28), which is specifically designed to achieve ultra-smooth defocusing, can be used to produce beautiful macro close-ups. Large-aperture lenses like the Sonnar ® T* 135mm F1.8 ZA (SAL135F18Z) and 70–200mm F2.8G (SAL70200G) can also be used for macro shooting. They allow you to use faster shutter speeds to prevent subject-motion Although magnification is a key factor in taking macro photos of flowers, it's certainly not the only one. The photo of sunflowers shown above, for example, was taken with the DT 11–18mm F4.5–5.6 (SAL1118) super wide-angle zoom lens. Such lenses allow you to show both a flower and its surroundings in a single frame, and demonstrate that you don't necessarily need a macro lens to take a great close-up photo! Choosing the right lens — 5 Sports Capture the drama with 200mm+ telephoto, freeze the action with fast shutter speeds Telephoto and zoom lenses with a focal length of 200mm or more are key players in sports, where it is often difficult for photographers to get close to the action. The 75–300mm F4.5–5.6 (SAL75300) telephoto zoom and DT 18–200mm F3.5–5.6 (SAL18200) zoom are good choices for outdoor sports in sunny weather, but if the lighting is less than ideal, you may not be able to use shutter speeds that are fast enough to freeze the action. If that's the case, simply increase the camera's ISO sensitivity to allow the use of faster shutter speeds. 108 If you're really serious about sports photography, lenses like the 300mm F2.8 G (SAL300F28G) telephoto or 70–200mm F2.8 G (SAL70200G) zoom telephoto are the way to go. These large-aperture G lenses feature supersharp optics and are bright enough to allow the use of the faster shutter speeds needed to capture sports action. And by boosting camera ISO sensitivity, they can even be used to shoot indoor sports. Both lenses also feature internal focusing mechanisms and SSM (Super Sonic wave Motor) for high-speed autofocusing. 300mm F2.8G (SAL300F28G), M mode, 1/1250 sec., F6.3, ISO 100, Auto white balance 109 70–200mm F2.8G (SAL70200G) with 2x teleconverter (SAL20TC), A mode, F5.6 (1/800 sec.), -1.0EV, ISO 200, White balance: Daylight Sports Wide-angle lenses and teleconverters can further expand your sports shooting horizons While telephoto close-ups of athletes are certainly dramatic, a wider view of the scene can sometimes result in a more dynamic and engaging composition. In the photo of the boy on his skateboard, for example, the use of a super wide-angle lens enabled the photographer to include the take-off ramp and plenty of sky in the frame, greatly emphasizing the height of the boy's jump. A wider view of the frame can also add interest by capturing the expressions of teammates and spectators, too. 110 16mm F2.8 Fisheye (SAL16F28), M mode, 1/500 sec., F8, ISO 100 Auto white balance, built-in flash If, on the other hand, more telephoto power is what you need, teleconverters offer an affordable and convenient solution. Available in 1.4x and 2x (SAL14TC and SAL20TC), they can be attached to lenses like the 300mm F2.8 G (SAL300F28G) or 70–200mm F2.8 G (SAL70200G) to achieve a significant power boost with only a one- or two-step reduction in lens brightness. Compact and easy to carry, teleconverters make a great addition to your kitbag on any sports shoot. 111 500mm F8 Reflex (SAL500F80), A mode, F8 (1/320 sec.), ISO 200, White balance: Daylight Choosing the right lens — 6 Wildlife On the wide-open savannah, super telephoto lenses are a powerful ally In wildlife photography, where it can be extremely difficult to get close to the subjects you are photographing, super telephoto lenses are your greatest ally. The 300mm F2.8G (SAL300F28G) offers exceptional brightness and fast, quiet, SSM (Super Sonic wave Motor) autofocusing, and can be combined with a 1.4x or 2x teleconverter (SAL14TC / SAL20TC) to achieve 420mm or 600mm super telephoto power, which is equivalent to 630mm or 900mm when mounted on a digital SLR with an APS-C type image sensor. telephoto when mounted on a digital SLR with an APSC type image sensor. The lens uses two reflecting mirrors to achieve incredible power with a minimum of weight and bulk. Measuring just 89mm/3.5" in diameter and 118mm/4.6" in length, it weighs only 665g/ 23.5 oz, making it a great choice for photographing birds and wildlife in the field. It also offers autofocusing, and although the aperture is fixed at F8, in fair weather you can use quite fast shutter speeds by setting the camera's sensitivity to ISO 200 or 400. Another alternative is to go with the 500mm F8 Reflex (SAL500F80), which offers the equivalent of 750mm 112 500mm F8 Reflex (SAL500F80), A mode, F8 (1/500 sec.), ISO 200, White balance: Daylight 113 Choosing the right lens — 7 Pets DT 18–70mm F3.5–5.6 (SAL1870), A mode, F8 (1/40 sec.), -0.3EV, ISO 100, White balance: Daylight Pet photos are easy with a standard or telephoto zoom and manual focusing Pet photos and portrait photos are alike in that you want to focus on your subject's eyes. But in pet photos, it's a good idea to use a smaller aperture to gain enough depth of field to keep the nose, tail, and other parts of the pet's body in focus, too. This means that instead of choosing an extremely bright lens like you would for a human portrait, you can choose a standard or telephoto zoom lens that lets you vary the framing as your pet moves around. For best focusing results, use Spot AF or focus area selection to zero-in on your pet's eyes. But remember, 114 Vario-Sonnar ® T* DT 16–80mm F3.5–4.5 ZA (SAL1680Z), A mode, F8 (1/125 sec.), -0.7EV, ISO 200, White balance: Daylight animal subjects don't sit still the way human subjects do, and you may need to use the Focus Hold button or Direct Manual Focus to get the precise shot you want. A zoom lens is also good when you're photographing cats and other animals that may run away if you get too close. Keep your body low to the ground to avoid startling your subject, and let the lens do the work. To add interest to your photos, try to capture the moment when the cat yawns or stretches, and vary the framing to include other elements in the composition. 115 a system technology 118–132 116 117 a system technology Body-integrated image stabilization 1 Piezoceramic element Understanding the benefits of Super SteadyShot ® sensor-shift image stabilization Frame Spindle Frictive force Drive axle Effective with any a lens Because Super SteadyShot is built into the camera, its benefits can be enjoyed with the entire lineup of a lenses. In-camera image stabilization Unlike lens-based systems, the Super SteadyShot system works by shifting the image sensor in the camera body. Ultra-precise sensor-shift movement Independent piezoelectric ultrasonic linear actuators assure instantaneous and ultra-precise sensor-shift movement for more effective image stabilization. Hall device position sensor X-axis frame (horizontal shift) Expansion Contraction How the linear actuators work When the actuators' piezoceramic elements expand, friction causes the corresponding x-axis and y-axis frames to move along with them. But when the elements contract, they do so at such high speed that the frames are left behind. By repeating these actions at ultra-high frequency, the actuators are able to shift the frames with extreme precision. Gyro sensor for x-axis motion (horizontal) Magnet Y-axis frame (vertical shift) Analog signal processing Gyro sensor Signal amplification + Position detection Sensor substrate Mounting plate Camera lens Image sensor Drive circuitry Gyro sensor for y-axis motion (vertical) Microcomputer for image stabilization control Y-axis actuator Focal point position data X-axis actuator Coupler Y-axis actuator X-axis actuator Unlike lens-based image stabilization systems that work by shifting optical elements within the lens, the Super SteadyShot ® system is integrated directly into the camera body, and works by shifting the image sensor itself. There are several advantages to this approach, one of the most important of which is that it allows the benefits of image stabilization to be enjoyed with any lens. Sensor-shift image stabilization also reduces the constraints imposed on lens design, enabling the size, weight, and cost of lenses to be held in check because there is no need to incorporate motion sensors or stabilization mechanisms into each lens. It also enables photographers to enjoy the benefits of image stabilization with large-aperture medium telephoto and wide-angle lenses, which by their very nature are extremely difficult to equip with optical stabilization systems. 118 3-piece sensor-shift unit The sensor-shift unit consists of a mounting plate, a y-axis frame (for vertical shift), and an x-axis frame (for horizontal shift). When assembled, the y-axis frame is mounted inside the x-axis frame to enable four-way sensor shift. At the core of the Super SteadyShot system is a threepiece unit that consists of a mounting plate and two movable frames, one of which contains the image sensor. Two piezoelectric ultrasonic linear actuators are used to drive the frames, enabling the sensor to be shifted with extreme precision on both the x and y axes. Thanks to the outstanding effectiveness of this mechanism in canceling the effects of camera shake, photographers can shoot at shutter speeds up to 3.5 steps slower than would otherwise be possible. Camera movement is detected by dual gyroscopic motion sensors that respond to both high-speed and low-speed shake, assuring effective image stabilization in a wide range of shooting situations. The motion sensors can also discriminate between blur-causing camera shake and intentional movement to help Lens CPU Coupler AF drive unit Gyroscopic motion sensors Two gyroscopic motion sensors are used to independently measure horizontal and vertical camera shake. AF drive signal Focal length Microcomputer for camera control Schematic diagram of Super SteadyShot system Highly accurate image sensor shifting is achieved by analyzing input from two gyroscopic motion sensors, an IC chip (focal length) and distance encoder (subject distance) in the lens, and a high-sensitivity Hall device that monitors image sensor position. prevent accidental activation when panning the camera to track moving subjects. System accuracy is also enhanced by focal length and shooting distance data feedback from the lens, and by highsensitivity Hall devices that continuously monitor image sensor position. Together with coatings that suppress static electricity buildup inside the camera, the sensor-shift system also helps reduce the likelihood of image sensor dust contamination by vibrating the sensor every time the camera is switched off. Anti-dust system Sensor A special coating on the low-pass filter in front of the image sensor helps prevent static electricity buildup that can attract airborne dust particles. Low-pass filter The image sensor is protected from dust contamination by using the sensor-shift mechanism to vibrate the sensor every time the camera is switched off. 119 a system technology 2 Circular aperture and defocusing effect Circular aperture mechanisms: the key to distinctive defocusing characteristics Circular aperture With circular aperture With conventional aperture Conventional aperture F4 F4 Aperture blade movement and aperture shape The circular aperture in a lenses ensures smoother defocusing because it retains near-perfect circular shape 1~2 stops down from the full-open position. A conventional aperture at the same setting takes on a polygonal shape with the same number of sides as the number of blades, resulting polygon-shaped point light source defocusing. Circular aperture unit The blades used in a System circular aperture units have a compound curvature that helps maximize the defocusing characteristics of each lens. Circular aperture Full aperture -0.5 EV -1.0 EV -1.5 EV -2.0 EV Conventional aperture When the background of a photo includes city lights or sun-dappled foliage or water, close examination may reveal patterns in the shape of the aperture in the defocused areas. Called "point light source defocusing," this effect can add a special touch to portraits and macro shots. However, obtaining beautiful defocusing is difficult with conventional aperture designs because defocusing produces polygonal shapes with the same number of sides as the number of aperture blades. With a lens that has a 6-blade aperture, for example, defocused point light sources will have a clearly defined hexagonal shape. Although a more circular defocusing pattern can be obtained regardless of the 120 number of aperture blades by opening the aperture all the way, a phenomenon known as vignetting can cause the defocused point light sources to assume an irregular ovoid shape near the image periphery. While increasing the number of aperture blades can also produce a more circular defocusing pattern, the use of too many blades can slow operation of the aperture mechanism to an unacceptable degree. For this reason, the mechanisms used in interchangeable SLR lenses usually have no more than nine aperture blades. The aperture blades in most a lenses are formed into a composite curve, and the curvature and tapering Smooth, circular defocusing pattern The a System's circular aperture mechanism provides smooth, attractive defocusing even when the aperture is reduced from the maximum by 1 or 2 stops. {Photo taken at F4 with the 50mm F1.4 (SAL50F14) lens} Faceted, polygon-shaped defocusing pattern With conventional aperture mechanisms, polygonal shapes become prominent in defocused areas when the aperture is reduced from the maximum by 1 or 2 stops. near the tip are designed to form a near-perfect circle when the aperture is 1~2 stops down from maximum. As a result, even when you reduce the aperture until the influence of vignetting is diminished, point light sources are defocused and transformed into smooth, attractive circles free of ovoid deformation and polygonal facets. the polygonal shape of an aperture can be most noticeable. Generally speaking, increasing the number of aperture blades makes the aperture more circular and defocusing more attractive. Although the defocusing characteristics of a lens tend to be more noticeable in images with point light sources in the background, circular aperture mechanisms can ensure smoother, more attractive defocusing with virtually any type of background. This is particularly evident when the aperture is reduced from the maximum by 4~5 stops because it is in this range that Of course the shape of the aperture is just one of many factors that can affect defocusing, and while the exceptionally circular shape of the aperture mechanism used in a lenses is an important advantage, it is not a magic cure-all. Ultimately, it is the superior optical properties of a lenses that enable them to offer truly superb defocusing; the circular aperture simply allows the natural characteristics of each lens to be realized to the fullest possible extent. 121 a system technology 3 STF lens and defocusing effect Smooth Trans Focus: a leader in the quest for beautiful defocusing Principle of the STF lens STF lens Apodization optical element a A b A 135mm medium telephoto lens with unparalleled defocusing characteristics Unique to the a System, the 135mm F2.8 [T4.5] STF (SAL135F28) boasts superb optical performance and incredibly smooth, natural defocusing. Conventional lens A a c STF lens defocusing (point "A" in focus) The inclusion of an apodization optical element ensures that defocusing at points "b" and "c" are equally smooth and natural. b c Conventional lens defocusing (point "A" in focus) With a conventional lens, defocusing at "b" and "c" has a clearly defined circular pattern. Aperture efficiency (%) Aperture efficiency comparison 100 Incidence height 135mm F2.8 (not a lens in a series) SAL135F28 SAL300F28G 135mm F2.8 (not a lens in a series) SAL135F28 SAL300F28G 0 5 10 Image height (mm) 15 20 STF lens aperture efficiency The 135mm F2.8 [T4.5] STF has an exceptionally large diameter (72mm filter size) for a fixed focal length lens, ensuring high aperture efficiency with virtually no vignetting. Even with the aperture fully opened, defocusing is superb right up to the periphery of the image. 135mm F2.8 [T4.5] STF (SAL135F28), M mode, 1/160 sec, T4.5, ISO 100, White balance; Daylight Apodization optical element Conventional lens 0 Spherical aberration Spherical aberration With almost no spherical aberration, the 135mm F2.8 [T4.5] STF offers image sharpness and clarity comparable to that of the 300mm F2.8 G (SAL300F28G). Apodization optical element The apodization optical element acts as a graduated neutral density filter, with light transmission highest at the center and gradually decreasing towards the periphery to ensure ultra-smooth defocusing with no sharply defined edges or visible geometric form. The 135mm F2.8 [ T4.5] STF lens (SAL135F28) is a "Smooth Trans Focus" lens that is unique to the a System, and incorporates a special apodization optical element that is designed to achieve the most aesthetically pleasing defocusing effect possible. uniformly bright circles, the 135mm F2.8 [ T4.5] STF's apodization optical element causes the intensity of defocused point light sources to fade out radially from the center, ensuring ultra-smooth defocusing with no sharply defined edges or visible geometric form. The apodization optical element is created by bonding convex and concave elements together. Although the convex element is made of normal optical glass, the concave element is designed to act as a kind of graduated neutral density filter, with light transmission highest at the center and gradually decreasing towards the periphery. So whereas conventionally designed lenses produce a defocusing pattern of Conventionally designed lenses can also suffer from residual spherical aberration that causes the brightness of the defocusing pattern to vary in different areas of the image. In addition, the quality of foreground and background defocusing can differ widely, with many lenses providing beautiful background defocusing but poor foreground defocusing. Defocusing characteristics can also be degraded by 122 STF lens The flowers in the background of the example photo show the unique defocusing characteristics of the 135mm F2.8 [T4.5] STF lens. The center of the defocused area is brightest, becoming gradually fainter toward the periphery to ensure smoother more aesthetically pleasing defocusing. Conventional vs. STF defocusing With the 135mm F2.8 [T4.5] STF lens, defocused point light sources blend smoothly into one another. With a conventional lens, defocused point light sources have sharply defined edges that make them obtrusively prominent. vignetting and uncorrected residual comatic aberration or curvilinear distortion. To avoid such problems and ensure excellent defocusing both in front of and behind the focus point, the 135mm F2.8 [T4.5] STF is designed to the highest optical standards in every detail. Vignetting is suppressed by its generously large diameter and 135mm fixed focal length, and as the MTF (Modulation Transfer Function) curve shown on page 134 shows, contrast and resolution are exceptionally high, with consistently sharp imaging from the center of the lens right out to the periphery. To further maximize its beautiful defocusing, the 135mm F2.8 [T4.5] STF is also equipped with two circular aperture control mechanisms. One is an automatic aperture controlled by the camera, and the other is a manual aperture that offers stepless manual control ranging from T4.5 to T6.7. The lens is marked with both F and T aperture settings for easy reference when shooting, with the T aperture settings reflecting the reduction in actual light transmission effected by the apodization optical element. 123 a system technology 4 ED glass and aspherical lenses ED glass: a powerful solution to chromatic aberration Aspherical lenses: multiple benefits for sharper imaging ED glass lens elements By correcting chromatic aberration, ED glass plays a key role in achieving truly superior performance in telephoto and super telephoto lenses. The photo to the left shows the ED glass elements used in the 300mm F2.8 G (SAL300F28G) and 70–200mm F2.8 G (SAL70200G) lenses. Conventional optical glass Molded glass aspherical lens elements Aspherical lens elements help correct spherical and comatic aberration, and curvilinear distortion. The photo to the left shows the molded glass aspherical lens element used in the 35mm F1.4 G (SAL35F14G). Focal plane ED optical glass Spherical lens Focal plane With a spherical lens like the one shown above, the focal point of light passing through the periphery of the lens is slightly in front of the focal plane, resulting in the formation of a blurry disk instead of a well-defined point. Lenses exhibiting this type of spherical aberration are also more susceptible to flaring. Focal plane Schematic diagram of the 300mm F2.8 G (SAL300F28G) Refractive index (n) ED glass Longitudinal chromatic aberration (mm) Comparison of longitudinal chromatic aberration The graph to the right shows longitudinal chromatic aberration for the SAL300F28G (Lens A, red line), and a hypothetical lens having the exact same structure, but containing only 0 conventional optical 400 450 500 glass elements (Lens B, Wavelength (nm) blue line). High dispersion glass Anomalous dispersion glass A Lens A Lens B 550 600 650 700 ED (Extra-low Dispersion) glass was developed specifically to combat color aberration. It has a low refrac- Aspherical lens L Low dispersion glass F 400 500 600 Wavelength (nm) The color of light is determined by its wavelength, and because different wavelengths travel at different speeds when they pass through a lens, a phenomenon called dispersion occurs. As a result, the focal points of various colors do not all fall in the exact same focal plane. In an SLR camera, this causes the focal point of some colors to be slightly in front of the image sensor, and the focal point of other colors to be slightly behind it (longitudinal color aberration). In addition, different wavelengths are affected by magnification differently, causing the focal point to be offset to the right or left of the optical axis (lateral color aberration). Together, these aberrations can distort color in captured images and cause unwanted color "fringing" at the border between light and dark areas of an image. 124 H Aspherical lens Aspherical lens C 700 800 Anomalous dispersion characteristics of ED glass The graph above shows the relationship between wavelength and refractive index for high dispersion, low dispersion, and anomalous dispersion glass. Although it is possible to minimize chromatic aberration between the wavelengths indicated by the lines marked F and C simply by using a combination of high and low dispersion glass elements, the anomalous dispersion ED glass used in a lenses has a higher refractive index at the low end of the visible spectrum, making it more effective in suppressing the purple fringing that can appear at the border between light and dark areas of an image. tive index and an extra-low dispersion index that help ensure light rays of all colors are brought closer to the correct focal point. The high-quality ED glass used in a lenses is also notable for its anomalous dispersion characteristics, which help minimize differences in the degree to which colors are affected. ED elements are used to enhance the performance of many a lenses. Large-aperture telephoto lenses such as the 70–200mm F2.8 G (SAL70200G), 300mm F2.8 G (SAL300F28G), and Sonnar ® T* 135mm F1.8 ZA (SAL135F18Z) incorporate from two to four ED elements to ensure virtually aberration-free ultra-sharp, high-contrast imaging even at maximum aperture. ED glass is also used in APS-C format wide-angle and standard a lenses such as the DT 11–18mm F4.5–5.6 (SAL1118) and DT 18–70mm F3.5–5.6 (SAL1870). 35mm F1.4 G (SAL35F14G) Vario-Sonnar ® T* DT 16–80mm F3.5–4.5ZA (SAL1680Z) Superior performance in an extremely compact size Aspherical lens elements also contribute to more compact lens design because a single aspherical element can correct aberration and distortion that would otherwise require the use of multiple spherical elements to correct. Lenses like the 35mm F1.4 G and Vario-Sonnar ® T* DT 16–80mm F3.5–4.5 ZA are good examples of how the inclusion of just one or two aspherical elements can make it possible for an extremely compact lens to offer truly superb image quality. Aspherical lens elements are another means by which aberration and distortion can be corrected. With ordinary spherical lens elements, light rays passing through the periphery are refracted more than light rays passing through the center. As a result, the light rays do not all converge at the same point, and although the difference in the point of convergence is very small, it can be enough to degrade image sharpness and contrast. Bright, large-aperture lenses are particularly prone to this type of aberration, and although it can be reduced to some extent by stopping the aperture down, the inclusion of aspherical elements assures superb imaging even with the aperture fully open. Focal plane Aspherical lenses are designed so that the refractive index varies from the center to the periphery, ensuring that light rays passing through different areas of the lens all have a common focal point. The resulting image is sharp and the lens is less susceptible to flaring. Aspherical lens elements are also effective in controlling the curvilinear distortion that can occur with wide and super-wide lenses, and the comatic aberration that can cause defocused point light sources at the periphery of an image to have comet-like tails. Due to their effectiveness in compensating for various types of aberration and distortion, aspherical elements also help reduce the overall number of elements needed in a lens, making it possible to create extremely compact high-performance lenses like the 35mm F1.4 G (SAL35F14G) and the Vario-Sonnar ® T* DT16–80mm F3.5–4.5 ZA (SAL1680Z). 125 a system technology 5 SSM (Super Sonic wave Motor) Built-in SSM drive for quiet, responsive autofocusing SSM mechanism The photo shows the SSM drive unit used in the 300mm F2.8 G (SAL300F28G). The notched stator is fixed to the lens barrel; the rotor is held against the stator by a spring-loaded retaining ring and connected to the focusing lens drive mechanism. P P 70–200mm F2.8 G (SAL70200G) 300mm F2.8 G (SAL300F28G) SSM-equipped lenses The SSM-equipped 300mm F2.8 G and 70–200mm F2.8 G also support direct manual focusing and feature focus hold buttons and a focus range limiter. Focus ring Piezoelectric element AC voltage, Phase B Focusing cam Stator Rotor AC voltage, Phase A Differential roller Rotor Rotor P When a 2-phase alternating current is applied to the piezoelectric elements in the base of the stator, torsional forces cause micron-scale elastic deformation of the stator. This creates a traveling wave that drives the rotor by generating traction at point P. Although the deformation of the stator is extremely small, the supersonic frequency of the wave that is generated drives the rotor at extremely high speed. Stator SSM unit Stator Focusing lens group The supersonic wave motor (SSM) used in the 70–200mm F2.8 G (SAL70200G) and 300mm F2.8 G (SAL300F28G) represents a truly remarkable advance in autofocus drive technology. Unlike conventional electric motors it incorporates no magnets or coils, yet delivers powerful torque. It is also exceptionally quiet and responsive, with a ring-shaped form that enables it to be integrated into the lens barrel with a minimum of weight and bulk. 126 SSM components The primary components of the SSM unit are the rotor (left) and the stator (right) on which the piezoelectric elements are mounted. SSM focusing mechanism During AF operation, movement of the SSM rotor is transmitted via a differential roller to the focusing cam that drives the focusing lens group. When focusing manually, it is the outer focus ring itself that drives the roller, cam, and focusing lens group. The motor itself consists of a stator that is attached to the lens barrel, and a rotor that is held against the stator by a spring-loaded retaining ring. When current is applied to piezoelectric elements in the stator, they vibrate at supersonic speeds to create a traveling wave in the stator that causes the rotor to rotate in the opposite direction. The notched edge of the stator serves to amplify the effect of the traveling wave, resulting in high torque that eliminates the need for bulky and potentially noisy gearbox mechanisms. This, together with the fact that the supersonic vibrations produced by the unit are inaudible to the human ear, ensures extremely quiet operation. SSM control circuit Advanced electronic circuitry controls the speed and direction of rotor movement by regulating the speed and direction of the traveling wave in the stator. SSM drive also has the advantage of enabling extremely responsive and accurate autofocusing. On/off response is virtually instantaneous, and the unit exerts powerful braking force on the focusing lens drive mechanism as soon as the motor stops. In addition, accuracy is enhanced by using a highprecision sensor to monitor the rotational position of the focusing lens drive ring. ual focusing after autofocus has been achieved in single and auto AF modes as can be done with other a lenses, SSM-equipped lenses let photographers focus manually when using continuous AF mode, too. Yet another advantage of SSM drive is that it provides greater focusing freedom by enabling both fulltime DMF (Direct Manual Focus) and standard DMF. So in addition to being able to immediately switch to man127 a system technology 6 Autofocus reflex lens 7 A pioneering innovation in compact reflex lens performance DMF (Direct Manual Focus) The convenience of autofocusing, plus creative manual control Light directed to the AF sensor Camera body clutch mechanism Charging motor 500mm F8 Reflex exit pupil 500mm F8 Reflex lens (SAL500F80) The white disc-like object visible inside the lens is the doughnutshaped concave primary mirror. Although it performs much the same function as a convex lens, it is reflective rather than refractive, and thus produces no chromatic aberration. When DMF is active, the clutch gear automatically disengages to enable manual focusing as soon as autofocusing is complete. Because the mechanism is built into the camera body, the benefits of DMF can be enjoyed with all a System autofocus lenses. Autofocusing engaged Manual focusing engaged Exit pupil Light emerging from the back of the lens has a doughnut-like shape. Light in the two areas indicated by dark gray circles is directed to the AF sensor to enable autofocusing. Cam gear for AF/DMF switching How a reflex lens works Equivalent image sensor position Condenser lens Secondary mirror AF sensor AF motor Timing belt Clutch gear Encoder Primary mirror Clutch gear AF drive coupler Auto-clutch equipped lens Focus ring During AF operation When the clutch gear is disengaged, the AF drive coupler rotates in response to manual focus ring movement. As a result, accurate information about current subject distance continues to be provided to the image stabilization and flash metering control systems during manual focusing. During manual operation Floating ring Separator lenses Mirror lens section Light reflects off the primary and secondary mirrors before passing through the lens elements aligned with the hole in the primary mirror. It is this folded light path that enables the 500mm F8 Reflex to offer the dual benefits of high telephoto power and compact size. AF sensor section With conventional reflex lenses, autofocusing cannot be effected because the secondary mirror blocks the light path to the AF sensor. On the 500mm F8 Reflex however, tighter focusing of the light from the primary mirror enables the use of a smaller mirror, and this, together with the enhanced sensitivity of the AF sensor used in a System camera bodies, makes autofocusing possible. Pivot pin A floating ring is attached to the cam that moves the focusing lens elements. During AF operation, the floating ring rotates freely without engaging the outer focus ring, but during manual operation, rotation of the focus ring causes the clutch lever to lock onto the floating ring so that the rotation is transmitted to the focus cam. Clutch lever Unlike conventional lenses that use only lens elements, the 500mm F8 Reflex (SAL500F80) incorporates two mirrors — a large doughnut-shaped primary mirror with a concave surface, and a smaller secondary mirror with a convex surface. Using these mirrors, the optical path is folded back on itself twice, enabling the lens to achieve 500mm super telephoto power in a body that is only 118mm/4.6" long. And because mirrors reflect light without dispersing it, reflex lenses are inherently free of the chromatic aberration that tends to occur in long focal length lenses, enabling sharp, clear imaging without the use of expensive ED glass. Thanks to their compact size, high power, and ultrasharp imaging, reflex telephoto lenses were very popular in the era of all-manual SLR photography. But with 128 the advent of autofocusing, such lenses were found to have a significant drawback: they could not support AF shooting because the secondary mirror blocked the light path to the AF sensor. On the a System, this seemingly insurmountable problem was solved by focusing light from the primary mirror more tightly to allow the use of a smaller secondary mirror, and by increasing the sensitivity of the AF sensor used in a System cameras. In addition, the rearmost elements in the lens were redesigned to suppress nonchromatic aberration that can occur when light from the primary mirror is tightly focused. The result is the exceptionally sharp imaging of the world's first autofocus reflex lens — the 500mm F8 Reflex. DMF (Direct Manual Focus) is a convenient feature that enables photographers to seamlessly switch between automatic and manual focusing. When DMF is activated, a clutch mechanism disengages the AF drive as soon as autofocusing is complete to allow manual fine-tuning via the focus ring on the lens barrel. It's a great aid to achieving correct focus when shooting portraits, macro close-ups, and other types of photos where the depth of field is extremely shallow, or when the camera has focused on an area other than the one intended. Because the camera returns to AF mode as soon as the user presses the shutter release button again, the transition from autofocusing to manual focusing and back can be made with exceptional ease, greatly enhancing shooting freedom. DMF is supported by all a lenses except the manual focus 135mm F2.8 [T4.5] STF (SAL135F28); on lenses equipped with an internal auto clutch to prevent the focus ring from rotating during AF operation, it ensures a particularly high level of focus control and handling ease. 129 a system technology 8 ADI flash metering Advanced a system technologies for more beautiful flash exposures Distance encoder The distance encoder in the lens monitors focus cam rotation to determine the position of the focusing lens elements, and transmits current subject distance information to the camera. Flash brightness Pre-flash waveform (flat pre-flash) Pre-flash External flash unit Light metering sensor Light reflected from subject Light metering sensor The light metering sensor measures both ambient light and reflected flash illumination. Lens Distance encoder How ADI works During P-TTL flash metering, the light metering sensor in the camera measures the reflected light of the pre-flash to determine the necessary level of flash brightness. During ADI flash metering, information from the distance encoder in the lens is combined with the light metering information to ensure more accurate flash brightness control. Camera Flash Light metering sensor Pre-flash metering data Focal length data P-TTL flash metering Pre-flash control data HVL-F56AM IC chip Distance encoder Subject distance data CPU Vario-Sonnar ® T* DT 16–80mm F3.5–4.5 ZA (SAL1680Z), M mode, 1/10 sec., F5.6, ISO 200, White balance ; Daylight, with external flash unit HVL-F56AM Flash head Flash setting data Flash control unit ADI flash metering HVL-F36AM External flash units a System external flash units such as the HVL-F56AM and HVL-F36AM support ADI flash metering and a wide range of other advanced flash functions. P-TTL flash metering vs. ADI flash metering When shooting a light-colored subject against a light-colored background, P-TTL flash metering produces a slightly underexposed image, but ADI flash metering compensates for the high reflectivity of the scene to produce a beautifully exposed image. ADI flash metering system To achieve more accurate flash brightness control, the ADI flash metering system analyzes ambient and reflected pre-flash light values from the light metering sensor in the camera, as well as information about subject distance and focal length from the distance encoder and IC chip in the lens. Most a lenses are equipped with a distance encoder that can determine the position of the focusing lens elements and transmit current subject distance information to the camera. This enables the camera to use highly accurate ADI (Advanced Distance Integration) flash metering to ensure correct flash exposure in a wide range of shooting situations. With conventional flash metering systems, the flash is fired in advance of actual shutter release to measure how much light is reflected by the subject and background. The drawback of this method is that extremely light- or dark-colored subjects and backgrounds may result in a false reading because they reflect too much or too little light. When taking a picture of a 130 The benefits of ADI flash metering apply equally to night scene photos like the one shown here and strongly backlit daytime photos. light-colored subject against a light-colored background, for example, so much light may be reflected that the scene is interpreted as being brighter than it actually is. As a result, flash output will be reduced too much and the photo will be underexposed. Conversely, if the frame is dominated by a subject/background that is very dark-colored, flash output may be set so high that the resulting photo is overexposed. The ADI flash metering system overcomes this problem by using subject distance information obtained from the distance encoder in the lens to make a more accurate assessment of the actual shooting situation. If the pre-flash reflection is high and subject distance is relatively long, the system recognizes that more illumi- nation is actually needed and increases flash power accordingly. If, on the other hand, pre-flash reflection is low and subject distance is short, the system recognizes that less illumination is actually needed and decreases flash power. In effect it acts as a form of intelligent flash control that automatically compensates for the reflectivity of the subject and background. As a result, ADI flash metering makes it easy to obtain beautifully exposed photos even shooting against highly reflective backgrounds such as mirrors and windows, or illuminated backgrounds such as nighttime cityscapes and sunsets. ADI flash metering is supported by all distance encoder equipped a lenses and built-in flash units, as well as by external flash units such as the HVL-F56AM and HVL-F36AM. If the external flash units are positioned off-camera, ADI flash metering automatically switches to P-TTL (Pre-flash Through The Lens) flash metering. With maximum guide numbers of 56 and 36 (ISO100/m), respectively, the HVL-F56AM and HVLF36AM also support advanced functions such as TTL wireless flash and high-speed synchronization. 131 a system technology High-speed synchro Normal flash synchronization With normal flash synchronization, background defocusing is not possible in a scene like this because slow shutter speeds prevent the use of large apertures . Sonnar ® T* 135mm F1.8ZA (SAL135F18Z), A mode, F8 (1/250 sec.), +1.0EV, ISO 100, White balance; Daylight, with external flash unit HVL-F56AM High-speed flash synchronization With high-speed synchro, extremely fast shutter speeds can be used, enabling the aperture to be opened wide to defocus the background. Sonnar ® T* 135mm F1.8 ZA (SAL135F18Z), A mode, F2.8 (1/2000 sec.), +1.0EV, ISO 100, White balance; Daylight, with external flash unit HVL-F56AM When using a flash to provide fill lighting in bright daylight, it is normally necessary to use a relatively slow shutter speed to ensure the flash and shutter are correctly synchronized. As a consequence, the aperture must be reduced to prevent overexposure, making it extremely difficult to defocus the background to make the subject stand out. The solution to this problem is to use an advanced flash unit like the HVL-F56AM or HVL-F36AM, both of which can deliver a continuous burst of illumination that permits synchronization at speeds of up to 1/4000 132 of a second. If a fast shutter speed is selected, the flash automatically switches to high-speed synchro mode and the letter 'H' is displayed in the camera's viewfinder. An HSS icon is displayed on the flash unit's LCD panel when high-speed synchro is enabled. Two-way communication between the flash unit and the camera makes switching automatic. If a slow shutter speed is selected, normal synchro will be used; if a fast shutter speed is selected, high-speed synchro will be used. Specifications & terminology 134–143 133 Specifications & terminology Lens performance and MTF graphs Fixed focal length lenses 16mm F2.8 Fisheye (SAL16F28) How to read an MTF graph 20mm F2.8 (SAL20F28) 28mm F2.8 (SAL28F28) 50mm F1.4 (SAL50F14) Green: Contrast value at maximum aperture 100 100 100 100 80 80 80 80 60 60 60 60 0 4 8 12 16 20 Distance from optical center of lens (mm) Spatial frequency Max. aperture T R 10 line pairs / mm 30 line pairs / mm F8 aperture T R 12 16 4 8 12 16 20 0 134 The height of the curves will tend to be lower for largeaperture and wide-angle lenses, and tend to slope down at maximum aperture. Also note that if a lens is to be used with a digital SLR with an APS-C type image sensor, the smaller size of the sensor means that y-axis values greater than 14.2mm can be ignored. It should be remembered, though, that MTF graphs are only one measure of performance. In practice, factors such as size, weight, cost, and intended use are also very important and should be given careful consideration when choosing a lens. 8 12 16 20 20 0 Distance from optical center of lens (mm) 100mm F2.8 Macro (SAL100M28) 100 100 80 80 80 80 60 60 60 60 20 4 8 12 16 20 40 20 0 4 8 12 16 40 20 20 0 Distance from optical center of lens (mm) 4 8 12 16 16 20 20 20 0 4 8 12 16 20 Distance from optical center of lens (mm) 35mm F1.4 G (SAL35F14G) 300mm F2.8 G (SAL300F28G) 100 100 80 80 60 60 40 20 8 12 40 Distance from optical center of lens (mm) 4 8 500mm F8 Reflex (SAL500F80) 100 40 4 Distance from optical center of lens (mm) 135mm F2.8 [T4.5] STF (SAL135F28) 0 The graph above shows contrast values at spatial frequencies of 10 lp/mm and 30 lp/mm (line pairs per millimeter). Green lines indicate contrast values at full-open aperture, and red lines indicate contrast values at F8 aperture; solid lines represent radial (R) measurements made from the optical center out to the periphery, while dotted lines represent tangential (T) measurements made at a 90º angle to radial measurements. 4 40 100 Distance from optical center of lens (mm) When reading MTF graphs, check the height and shape of the curves at each spatial frequency. The higher the 10 lp/mm and 30 lp/mm curves are on the graph, the higher the contrast and resolving power. The smaller the gap between the green and red curves, the more consistent the performance across the aperture range. And the smaller the gap between solid and dotted lines, the more consistent and attractive the defocusing characteristics. 0 Distance from optical center of lens (mm) 50mm F2.8 Macro (SAL50M28) 0 MTF (Modulation Transfer Function) is a mathematical function used to evaluate lens performance in terms of a lens's ability to transmit the contrast of a subject to the focal plane. It is usually shown as a graph, with the contrast transmission value (in %) plotted on the vertical axis and the distance from the optical center of the lens (in mm) plotted on the horizontal axis. A target composed of pairs of lines of increasing spatial frequency is used to conduct MTF tests. 20 20 Contrast (%) 0 8 40 Contrast (%) 20 4 Distance from optical center of lens (mm) Contrast (%) Contrast (%) 40 The MTF graphs on the following pages illustrate the superior performance characteristics of a lenses. Values are plotted for both maximum and F8 aperture settings at spatial frequencies of 10 lp/mm and 30 lp/mm (10, 20, and 40 lp/mm for Carl Zeiss ® lenses). Two graphs are shown for zoom lenses; one at the shortest focal length (wide-angle) and one at the longest focal length (telephoto). In the example graph for the 135mm F2.8 [ T4.5] STF (SAL135F28) shown to the left, the graph lines indicate the high contrast and sharpness of the lens from the center out to the periphery, and the narrowness of the gap between the R and T lines indicates the lens's excellent defocusing characteristics. 20 Contrast (%) 20 40 Contrast (%) 60 Indicates the level to which resolution and contrast are maintained at the periphery of the lens. 40 Contrast (%) 80 Contrast (%) Contrast (%) 100 Contrast (%) Indicates excellent performance with high contrast and resolution at the center of the lens. Contrast (%) Red: Contrast value at F8 12 16 20 Distance from optical center of lens (mm) Spatial frequency Max. aperture R T 40 20 0 4 8 12 16 20 Distance from optical center of lens (mm) F8 aperture R T R: Radial values T: Tangential values 10 line pairs / mm 30 line pairs / mm MTF graphs above show contrast values at spatial frequencies of 10 lp/mm and 30 lp/mm for a and G series lenses. 135 Specifications & terminology Cal Zeiss ® lenses Zoom lenses DT 11–18mm F4.5–5.6 (SAL1118) DT 18–70mm F3.5–5.6 (SAL1870) At 11mm At 18mm At 18mm Planar ® T* 85mm F1.4 ZA (SAL85F14Z) At 70mm Max. aperture Sonnar ® T* 135mm F1.8 ZA (SAL135F18Z) F8 aperture Max. aperture F8 aperture 80 80 80 80 80 80 80 80 60 60 60 60 60 60 60 60 40 20 0 3 6 9 40 20 12 0 Distance from optical center of lens (mm) 3 6 9 40 20 12 0 Distance from optical center of lens (mm) 3 6 9 40 20 12 0 Distance from optical center of lens (mm) 3 6 9 12 40 20 0 Distance from optical center of lens (mm) 4 8 12 16 Distance from optical center of lens (mm) 20 40 20 0 4 8 12 16 Contrast (%) 100 Contrast (%) 100 Contrast (%) 100 Contrast (%) 100 Contrast (%) 100 Contrast (%) 100 Contrast (%) 100 Contrast (%) 100 40 20 20 0 Distance from optical center of lens (mm) 4 8 12 16 40 20 20 0 Distance from optical center of lens (mm) 4 8 12 16 20 Distance from optical center of lens (mm) DT 18–200mm F3.5–6.3 (SAL18200) 24–105mm F3.5–4.5 (SAL24105) Vario-Sonnar ® T* DT 16–80mm F3.5–4.5 ZA (SAL1680Z) At 18mm At 24mm At 16mm Max. aperture 80 60 60 60 60 40 20 0 3 6 9 40 20 12 0 Distance from optical center of lens (mm) 3 6 9 40 20 12 0 Distance from optical center of lens (mm) 4 8 12 16 20 0 Distance from optical center of lens (mm) 70–200mm F2.8 G (SAL70200G) At 75mm At 70mm 80 80 60 60 60 60 20 0 4 8 12 16 20 20 Distance from optical center of lens (mm) Spatial frequency Max. aperture R T 0 4 8 12 16 Distance from optical center of lens (mm) F8 aperture R T R: Radial values T: Tangential values 10 line pairs / mm 30 line pairs / mm MTF graphs above show contrast values at spatial frequencies of 10 lp/mm and 30 lp/mm for a and G series zoom lenses. 136 20 40 20 0 4 8 12 16 Distance from optical center of lens (mm) 20 80 80 60 60 12 16 20 40 20 0 20 9 12 0 8 12 16 Distance from optical center of lens (mm) 20 80 80 60 60 40 20 6 9 12 9 12 40 20 0 Distance from optical center of lens (mm) Spatial frequency 10 line pairs / mm 20 line pairs / mm 40 line pairs / mm 6 F8 aperture 100 3 3 Distance from optical center of lens (mm) 100 0 4 6 20 At 80mm Max. aperture 40 0 3 40 Distance from optical center of lens (mm) Contrast (%) 80 Contrast (%) 80 Contrast (%) 100 Contrast (%) 100 Contrast (%) 100 40 8 At 200mm 100 40 4 Distance from optical center of lens (mm) 75–300mm F4.5–5.6 (SAL75300) At 300mm 100 40 20 F8 aperture 100 Contrast (%) 80 Contrast (%) 80 Contrast (%) 80 Contrast (%) 100 Contrast (%) 100 Contrast (%) At 105mm 100 Contrast (%) At 200mm 100 3 6 9 12 Distance from optical center of lens (mm) R T R: Radial values T: Tangential values MTF graphs above show contrast values at spatial frequencies of 10 lp/mm, 20 lp/mm and 40 lp/mm for Carl Zeiss ® lenses. 137 Specifications & terminology Glossary ADI flash metering ultra-smooth defocusing characteristics. p. 130 ADI (Advanced Distance Integration) flash metering minimizes the influence of subject and background reflectivity to ensure more accurate exposure when shooting with flash. It is supported by a System camera built-in flash units and advanced external flash units such as the HVL-F56AM and HVL-F35AM, and all distance encoder equipped a lenses. Angle of view APS-C p. 77 APS-C is one of three picture sizes defined by the Advanced Photo System (APS) film standard that was introduced in 1996. The C (Classic) size measures 23.4 x 16.7mm, and since this corresponds to the size of the image sensor used in many digital SLR cameras, the APS-C designation has also come to be applied to such cameras and their sensors. p. 78 Angle of view is measured in degrees of arc and indicates how much of a scene a lens can capture. Angle of view is determined solely by the focal length of the lens; the field of view (sometimes called the picture angle) is determined by the angle of view and the shooting distance. Aperture p. 120 The aperture is the opening that regulates the amount of light passing through a lens. The size of the aperture also affects depth of field, with larger apertures (smaller F-stop numbers) making depth of field shallower, and smaller apertures (larger F-stop numbers) making it deeper. Apodization optical element pp. 40, 122 An apodization optical element is an optical element designed to act as a graduated neutral density filter, with highest light transmission at the center and lowest light transmission at the periphery. An apodization optical element is built into the 135mm F2.8 [T4.5] STF (SAL135F28) lens to ensure 138 Aspherical lens element p. 125 A lens element with a variable curvature that is specially designed to suppress spherical aberration without the need for additional corrective elements. Although aspherical elements require a high degree of manufacturing precision to produce, they make it possible to create light, compact lenses that deliver extremely high image quality. Auto clutch p. 129 An auto clutch is a mechanism that prevents the focus ring on the lens barrel from rotating during autofocus operation, yet enables the focus ring to engage the focusing mechanism during manual focus operation. This ensures improved camera-holding stability when autofocusing, and allows the focus ring to be made wider for easier manual focusing. Circular aperture Depth of field p. 120 pp. 82, 84 Circular aperture mechanisms contribute to the excellent defocusing characteristics of a lenses by using specially designed blades to ensure that the aperture remains extremely circular even when reduced from the full-open position by one or two F-stops. Depth of field refers to the range of camera-to-subject distances within which focus will be acceptably sharp. Depth of field is affected by a number of factors, including aperture size, subject distance, and to a more limited degree, focal length. Distance encoder Contrast pp. 124, 134 In the context of lens performance, contrast does not refer to the distribution of tonal values from light to dark as in a photograph, but rather to the ability to distinguish between fine details that are of slightly different brightness. A lens with higher contrast will therefore produce a sharper, crisper image than one with lower contrast. pp. 119, 130 A distance encoder is a device incorporated into most a lenses to monitor the position of the focusing lens elements and transmit accurate shooting distance information to the camera. This information is then combined with light metering information to ensure more accurate ADI (Advanced Distance Integration) flash brightness control. pp. 120, 122 Defocusing characteristics, also known as bokeh, describe the appearance of the areas of an image that are blurred because they are outside the zone of correct focus. With poorly designed lenses, defocused areas often contain visually distracting, sharply defined polygonal shapes that correspond to the shape of the lens aperture. With a lenses, defocused areas have a smoother, more even visual texture that makes in-focus elements stand out from the background beautifully. p. 129 Direct Manual Focus (DMF) is an a System feature that enables photographers to effortlessly switch between auto and manual focusing. When DMF is active, the AF drive disengages as soon as autofocusing is complete to allow manual fine tuning via the focus ring on the lens barrel. Fulltime DMF that allows manual focusing at any time is also possible when using a lenses equipped with SSM (Super Sonic wave Motor) drive. DT (Digital Technology) lenses pp. 50, 52, 54, 56, 142 DT lenses are lenses that have been specially designed for use with a System cameras equipped with an APS-C type image sensor. Although they can- on lenses with extremely short minimum focusing distances. F-number pp. 82, 84 ED glass p. 124 ED (Extra-low Dispersion) glass is a type of optical glass that was specifically developed to combat color aberration. It has a low refractive index and an extra-low dispersion index that help ensure light rays of all colors are brought closer to the correct focal point. The high-quality ED glass used in a lenses is also notable for its anomalous dispersion characteristics, which help minimize differences in the degree to which colors are affected. F-numbers, which are also often referred to as F-stops, indicate the size of the aperture relative to the focal length of a lens, with each successive F-number representing a halving or doubling of the amount of light allowed to pass through the lens. Because F-numbers actually represent fractions (the diameter of the aperture in millimeters divided by the focal length in millimeters), smaller Fnumbers indicate larger apertures and larger F-numbers indicate smaller apertures. Focal length pp. 76, 78, 80 Flaring p. 88 DMF (Direct Manual Focus) Defocusing characteristics not be used with 35mm format SLR cameras, they offer the multiple advantages of outstanding image quality, compact size, and low weight. Flaring is a phenomenon that occurs when extraneous light rays that do not contribute to image formation enter a lens and reflect off the surface of individual lens elements or the inside of the lens barrel. It can significantly reduce image contrast and sharpness, as well as create unwanted streaking and ray-shaped patterns. Flaring can be eliminated in most cases by proper use of a lens hood. Focal length is defined as the distance in millimeters from the optical center of a lens to the focal plane (image sensor) when a subject at infinity is in sharp focus. Long focal length lenses (telephoto) have a narrow angle of view and make distant subjects appear larger; short focal length lenses (wide-angle) have a wide angle of view and make distant subjects appear smaller. Focus hold button pp. 46, 48 Floating lens mechanism p. 32 A floating lens mechanism is a mechanism that allows lens elements other than the focusing group to move, thereby minimizing aberrations that can be introduced at different focusing distances. It can be particularly effective in ensuring superior image quality across the focusing range The focus hold button is a convenient feature offered on some a lenses to make it easy to lock the focus during autofocus operation. Although the focus can also be locked by holding the shutter button pressed halfway, the focus hold button permits focus to be locked across multiple frames even in continuous AF (AF-C) mode. 139 Specifications & terminology Focus range limiter pp. 46, 48 The focus range limiter is another convenient focusing feature offered on some a telephoto and macro lenses. It helps boost autofocusing speed by allowing photographers to limit the distance range within which the AF system will seek a focusing target. Ghosting p. 88 Ghosting is a type of flaring that usually takes the form of spotshaped blemishes with a clearly defined shape. It is most likely to occur when the sun or other such bright light source is close to the edge of the image field, and although antireflective lens coatings and the use of lens hood are generally effective in suppressing it, in some situations the only way to eliminate it is to take the shot from a different position or angle. G Lens lighting in bright outdoor situations. High-speed synchro is supported by a System camera built-in flash units, as well as high-performance external flash units such as the HVL-F56AM and HVL-F36AM. Magnification ratio Perspective pp. 74, 118 p. 86 pp. 78, 80 Image stabilization is a technology that was developed to help prevent blurring caused by camera shake. Although it is possible to equip individual lenses with mechanisms that shift lens elements to compensate for camera shake, this adds considerably to the size, weight, and cost of a lens, and, of course, only works with the lens it is installed on. The Super SteadyShot ® system, on the other hand, is built into the camera body, so it works with all a lenses, and provides efficient stabilization that enables shooting at shutter speeds up to 3.5 steps slower than would otherwise be possible. Internal/rear focusing mechanisms p. 39 Internal focusing and rear focusing mechanisms eliminate the need for the lens barrel to extend and retract when focusing. In addition to making the lens more compact, the reduction in the weight of moving parts ensures faster focusing and easier handling. HSS (High-Speed Synchro) p. 132 High-speed synchro enables flash photography at very fast shutter speeds. As a result, photographers can shoot at the large apertures needed to effectively defocus the background even when using a flash to provide fill 140 straints prevent some peripheral light from reaching the focal plane, and can thus cause observable light fall-off at the periphery of an image, this can often be avoided by reducing the aperture slightly. Image stabilization pp. 32,42 60,142 a lenses bearing the 'G' designation are specially designed and constructed to the highest standards of optical performance. Built to last a lifetime, they combine superb clarity and sharpness with exquisite defocusing characteristics, and measure up to the most demanding professional specifications in every detail. types of aberration than lenses with smaller apertures, recent advances in optical and lens manufacturing technology have led to the development of extremely high-performance large-aperture lenses. Large-aperture lenses The magnification ratio is the ratio between a subject's actual size and the size at which it is projected onto the focal plane (image sensor). If a subject 10mm high appears 1mm high at the focal plane, the magnification ratio is 10:1; if it appears 2mm high, the magnification ratio is 10:2. Since these values apply only at the focal plane, images appear much larger on a monitor or as a print. MTF (Modulation Transfer Function) graphs p. 134 The modulation transfer function is one widely used measure of lens performance that allows the contrast reproduction capabilities and resolution of a lens from its center to periphery to be diplayed in a single graph. Multi-coatings p. 88 Multi-coatings are thin, transparent, antireflective coatings applied to lens elements to help prevent flaring and ghosting that can reduce contrast and degrade image quality. Reflex lens pp. 44, 128 A reflex lens is a lens that uses two mirrors to fold the optical path back on itself to achieve a long focal length within a short lens barrel. Although their design does not permit the inclusion of a variable aperture mechanism, reflex lenses are much lighter than conventional lenses of equivalent focal length, are notably free of chromatic aberration, and have a distinctive ring-shaped defocusing pattern. Refraction p. 124 p. 94 Large-aperture lenses are sometimes referred to as 'fast' lenses because their exceptional lightgathering power enables the use of faster shutter speeds. Although inherently more prone to various In photography, perspective refers to the apparent relative distance and size of the elements in a scene. When shooting with a wide-angle lens, the perspective can seem exaggerated because foreground elements appear to be very large in relation to background elements. And when shooting with a telephoto lens, perspective can seem compressed because background elements appear to be very large in relation to foreground elements. Peripheral light p. 143 Peripheral light is light that passes through a lens near the outer edge of the lens disc. Although inherent optical design con- Refraction refers to the deflection from a straight path that light rays undergo when they pass through a glass lens. It is this phenomenon that makes it possible to use multiple lens elements to cause all light rays that enter a camera lens to converge and form a sharply focused image on the camera's image sensor. Resolution pp. 121, 134 In the context of lens performance, resolution refers to the ability of a lens to distinguish fine detail. It is not related to image sensor resolution, although both image sensor and lens resolution ultimately affect the quality of an image. Lens resolution, like contrast, is usually measured by testing how many line pairs per millimeter the lens can distinguish, and is a key factor in determining image sharpness. Shooting distance p. 87 With reference to compact cameras, the terms "shooting distance" and "focus distance" generally mean the distance from the front of the camera lens to the subject, but in SLR photography, these terms describe the distance from the focal plane (image sensor) to the subject when the subject is in sharp focus. STF lens pp. 40, 122 STF stands for Smooth Trans Focus and describes the ultra-smooth defocusing characteristics of the 135mm F2.8 [T4.5] STF lens (SAL135F28). In addition to offering truly outstanding contrast and resolution, the lens is equipped with a unique apodization optical element that ensures beautifully smooth defocusing of both foreground and background. Teleconverter pp. 64, 66, 142 A teleconverter is an attachment lens that can be mounted between the camera body and lens to extend the focal length of the lens being used. The a lens lineup includes 1.4x and 2x teleconverters (SAL14TC and SAL20TC) for use with the 70–200mm F2.8 G (SAL70200G), 300mm F2.8 G (SAL300F28G), and 135mm F2.8 [T4.5] STF (SAL135F28). Maximum aperture will be reduced by one F-stop with the 1.4x teleconverter, and by two F-stops with the 2x teleconverter. Working distance SSM (Super Sonic wave Motor) pp. 126 The SSM (Super Sonic wave Motor) is an autofocus system drive motor that uses supersonic vibrations generated by piezoelectric elements to produce high torque output with minimal operating noise. It also supports fulltime DMF (Direct Manual Focus) that enables photographers to fine-tune the focus manually during autofocus operation. p. 87 Working distance refers to the distance from the front surface of the lens or lens barrel to the subject. Macro lenses such as the 100mm F2.8 Macro (SAL100M28) offer a longer working distance that helps prevent the photographer or camera from casting shadows on the subject when taking macro close-ups. 141 Specifications & terminology a lenses — basic specifications Product Description Lens configuration (groups / elements) 35mmequivalent focal length when mounted on DSLR (mm) Angle of view (APS-C format) *1 Angle of view (35mm format) SAL1118 DT 11–18mm f/4.5–5.6 *2 12 / 15 16.5–27 104–76° — SAL1870 DT 18–70mm f/3.5–5.6 *2 9 / 11 27–105 76–23° — SAL18200 DT 18–200mm f/3.5–6.3 *2 13 / 15 27–300 76–8° — SAL24105 24–105mm f/3.5–4.5 11 / 12 36–157.5 61–15° 84–23° SAL75300 75–300mm f/4.5–5.6 10 / 13 112.5–450 21–5° 20' 32–8°10' SAL16F28 16mm f/2.8 Fisheye 24 110° 180° SAL20F28 20mm f/2.8 9 / 10 30 70° 94° SAL28F28 28mm f/2.8 5/5 42 54° 75° SAL50F14 50mm f/1.4 6/7 75 32° 47° SAL50M28 50mm f/2.8 Macro 6/7 75 32° 47° SAL100M28 100mm f/2.8 Macro 8/8 150 16° 24° SAL135F28 135mm f/2.8 [T4.5] STF *3 6 / 8 (incl. 1 apod. element) 202.5 12° 18° SAL500F80 500mm f/8 Reflex 750 3° 10' 5° — SAL14TC 1.4x Teleconverter *4 4/5 — — — — SAL20TC 2x Teleconverter *5 5/6 — — — — SAL35F14G 35mm f/1.4 G 8 / 10 52.5 44° 63° SAL70200G 70–200mm f/2.8 G 16 / 19 105–300 23–8° 34–12° 30' SAL300F28G 300mm f/2.8 G 450 5° 20' 8° 10 ' SAL85F14Z Planar ® T* 85 mm f/1.4 ZA 7/8 127.5 19° 29° SAL135F18Z Sonnar ® T* 135 mm f/1.8 ZA 8 / 11 202.5 12° 18° SAL1680Z Vario-Sonnar ® T* DT 16–80 mm f/3.5–4.5 ZA *2 10 / 14 24–120 83–20° — Model name 8 / 11 (incl. 1 filter) 5/7 (incl. 1 filter) 12 / 13 (incl. 1 filter) *1 : Digital SLR camera with an APS-C type (23.6 mm x 15.8 mm) image sensor *2 : Compatible only with digital SLR cameras with an APS-C type image sensor; not compatible with 35mm SLR cameras *3 : Manual focus only *4 : AF supported with center focus frame only *5 : Compatible with SAL70200G / SAL300F28G (AF & MF operation) and SAL135F28 (MF only) *6 : Except SAL135F28 *7 : Without tripod mount 142 No. of aperture blades 7 (circular aperture) 7 (circular aperture) 7 (circular aperture) 7 (circular aperture) 7 (circular aperture) 7 7 (circular aperture) 7 7 (circular aperture) 7 (circular aperture) 9 (circular aperture) 9 auto / 10 manual (circular aperture) 9 (circular aperture) 9 (circular aperture) 9 (circular aperture) 9 (circular aperture) 9 (circular aperture) 7 (circular aperture) Min. aperture (f) Max. magnification ratio (x) Min. focus distance (m) ADI flash metering (distance Filter dia. encoder) (mm) Dimensions (Dia. x L) (mm) (in.) Weight torutume (g) (oz) approx. Hood shape / mount 22–29 0.125 0.25 O 77 petal / bayonet 83 x 80.5 3-1/4 x 3-3/16 360 12.7 oz hood 22–36 0.25 0.38 O 55 bayonet 66 x 77 2-5/8 x 3 235 8.3 oz hood 22–40 0.27 0.45 O 62 petal / bayonet 73 x 85.5 2-7/8 x 3-3/8 405 14.3 oz hood 22–27 0.18 0.5 O 62 petal / bayonet 71 x 69 2-13/16 x 2-11/16 395 13.9 oz hood 32–38 0.25 1.5 O 55 bayonet 71 x 122 2-13/16 x 4-13/16 460 1 lb 0.2 oz hood 22 0.15 0.2 — (integrated) fixed 75 x 66.5 2-15/16 x 2-5/8 400 14.1 oz — 22 0.13 0.25 — 72 petal / bayonet 78 x 53.5 3-1/16 x 2-1/8 285 10.1 oz hood 22 0.13 0.3 — 49 integrated 65.5 x 42.5 2-9/16 x 1-11/16 185 6.5 oz — 22 0.15 0.45 O 55 bayonet 65.5 x 43 2-9/16 x 1-11/16 220 7.8 oz hood 32 1.0 0.2 O 55 — 71.5 x 60 2-13/16 x 2-3/8 295 10.4 oz — 32 1.0 0.35 O 55 bayonet 75 x 98.5 2-15/16 x 3-7/8 505 1 lb 1.8 oz hood 31 [T32] 0.25 0.87 — 72 bayonet 80 x 99 3-1/8 x 3-7/8 730 1 lb 9.7 oz hood, case 0.13 4.0 — screw-on 89 x 118 3-1/2 x 4-5/8 665 1 lb 7.5 oz hood, slot-in ND filter — — — O* — — 64 x 20 2-1/2 x 3/4 170 6 oz case — — — O* — — 64 x 43.5 2-1/2 x 1-11/16 200 7.1 oz case 22 0.2 0.3 O 55 petal / bayonet 69 x 76 2-3/4 x 3 510 1 lb 2 oz hood, case 32 0.21 1.2 O 77 petal / bayonet 87 x 196.5 3-7/16 x 7-3/4 1,340 *7 2 lb 15.3 oz hood, case 32 0.18 2.0 O 42 round / clip-on 122 x 242.5 4-13/16 x 9-9/16 2,310 *7 5 lb 1.5 oz hood, slot-in circular polarizing filter, lens strap, hard carrying case 22 0.13 0.85 O 72 bayonet 81 x 75 3-3/16 x 2-15/16 640 1 lb 6.6 oz hood, case 22 0.25 0.72 O 77 bayonet 88 x 114.5 3-7/16 x 4-1/2 995 2 lb 3.1 oz hood, case 22–29 0.24 0.35 O 62 petal / bayonet 72 x 83 2-13/16 x 3-1/4 445 15.7 oz hood, case 8 (fixed) 42 (provided) 6 6 (provided) Provided accessories • Equivalent focal length is approx. 1.5x stated focal length when lenses are mounted on a digital SLR with an APS-C type image sensor. • Depending on the type of focusing lens mechanism employed, focal length may vary slightly according to shooting distance. Stated focal length is measured with focus at infinity. • Light transmission inherently decreases at lens periphery. To reduce peripheral light fall-off, reduce aperture by 1 or 2 stops. • Non-metric weights and measurements are approximate and may vary. • Specifications are based on the latest information available at the time of printing, and are subject to change without notice. 143 © 2007 by Sony Corporation First printing April 2007 Printed in Japan Special Thanks Tomoko Saito (Art de Vivere), Hironori Doi (RISE Communications Pty Ltd), Russell Carr, The Helicopter Line, E QUBE PUBLISHING, Show Film, Stage & Screen, Allan Hamilton, Hamish Bagley, Nicholas Andrewes, Nikki Bodle, Jonathan L Carr, Saveur FERRARA (Riviera Kanko Service), Hotel Westminster Nice, The Heritage Hotel Queenstown, Department of Conservation Te Papa Atawhai, Eze-Village, Volkswagen Japan, Auberge Au Mirador, Big Foot, SHOTOVER JET Information and product specifications contained herein are current as of February 2007, and are subject to change without notice.